검색결과
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The Gyeongbokgung Palace Management Office of the Gyeongbokgung Palace Management Office announced that Gyeongbokgung Palace will be opened at nightThe Gyeongbokgung Palace Management Office (Chief Choi Jae-hyeok) of the Gyeongbokgung Palace Management Office announced that Gyeongbokgung Palace will be opened at night (7:00 PM ? 9:30 PM) from September 1 through November 6 (for 52 days). The last visitor should arrive at the ticket office by 8:30 PM).The annual night opening of Gyeongbokgung Palace is so popular that admission tickets are sold out before you know it. The annual night opening is available during the spring and autumn season, and during this second half of the year, visitors are welcome to enjoy the crisp atmosphere of autumn night at the palace.To pay a night visit to Gyeongbokgung Palace during the event period, you have to make a reservation in advance through the website (https://ticket.11st.co.kr/) or buy onsite ticket at the entrance on the very day. Non-Koreansmay purchase an admission ticket at the manned ticket office at Gwanghwamun on the day of visit. You can make a reservation from 10:00 AM on Monday, August 25 for the first period (Sep. 1 ? 30) or from 10:00 AM on Friday, September 23 for the second period (Oct. 1 ? Nov. 6). Reservation can be made at least one day before the day of visitif there is a remaining ticket. You may get a refund for a reserved ticket when you cancel by 5:00 PM on the day before the date of the scheduled visitThose exempted from paying the admission fee: persons of national merit and their spouses; a person with severe disability and a person accompanying him/her; a person with minor disability; a holder of a certificate as a bereaved family member of persons of national merit; children under the age of 6; seniors aged 65 years or older; a hanbok wearer. Those stated here can enter the palace at Heungyemun Gate by simply presenting their ID without reservation or ticket.Those accompanying a child below 6 years must make a reservation or buy onsite tickets.We sincerely hope that visitors have a pleasant night at Gyeongbokgung Palace, which is one of the country’s leading cultural heritage. For more details about the event, please visit the homepage of the Gyeongbokgung Palace Management Office. We at the Gyeongbokgung Palace Management Office of the CHA will continue striving to provide more opportunities for people to have a good time at olden-day palaces.
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The National Research Institute of Maritime Cultural Heritage presents its special exhibitionThe National Research Institute of Maritime Cultural Heritage (Lee Kyu Hoon, Director's representative) presents its special exhibition of 2022 entitled 'Sea, Ship, Beliefs' at the Mokpo Maritime Museum from July 29 to November 20 to mark the 3rd Island Day. Korea is a peninsula surrounded by water on three sides; hence, various maritime beliefs have been passing down along coastal regions. This exhibition reveals the stories of the people who adapt themselves to sea and make lives with the sea. Traditional religious beliefs and practices protect fishermen’s lives in an ever-changing sea, where abundance and disaster coexist. The National Research Institute of Maritime Cultural Heritage hopes this exhibition enables visitors to explore the lives of the fishermen who sublimated the desire for an abundant catch of fish and safety at sea into community festivals. The first theme is 'Ships, Crossing over the Sea of Life and Fear'. Ships are vital to people who depend on seas, rivers or lakes for their way of life and their live -lihoods. While the art of boat building and sailing skills have continuously advanced, dangers faced by the fishermen are unavoidable. Varieties of boat rituals and worship of the boat guardian deities are therefore performed by fishing communities in Korea. The second theme is 'Sea God, Worshiped as a Guardian Deity of Nation and the People'. Since ancient time, people believed that deities who rule earth, sea, and sky. Celestial god and water god, in particular, are worshiped not only for well-being of individual and community, but also for peace in the royal family, national defense, and navigational safety. Sea god rituals were held not only by the state, but also by local officials and civilians to express gratitude for the favors of spiritual beings. The third theme is 'Fishermen, Praying for Safety and a Big Catch'. Wishing for an abundant catch and safe navigation, fishermen worshiped deities. Maritime rituals refer to a number of rites held in the coastal regions, such as sea, island, docks and seaside. Dangje of the west coast, pungeoje and byeolsije of the eastern and southern coasts are typical communal rites. Pungeoje(ritual for big catch) was a ceremonial process to summon aid from various sea gods, aiming at encouraging a bounteous catch and ensuring a safe return to harbours. The fourth theme is 'Boats, Guiding Souls from Sea to Heaven'. In Korean Shamanism, a death ritual is held to app-ease both the living and the dead. In shamanic rites, the boat as a symbol was treated as a vehicle to transport individuals to the Otherworld with confidence and comfort. During shamanic death ceremonies, shamans either went directly to the sea by boat or floated a miniature of straw ship on the beach, and prayed for the spirit of the dead to leave this world and safely move to heaven. The National Research Institute of Maritime Cultural Heritage hopes that the exhibition entitled "Sea, Ship and Belief” will deepen visitors’ understanding of the way of life of fishermen in the past. The rituals preserved in fishing villages across Korea were developed by fishing communities over a long period of time as an integral part of their way of life, in which abundance coexisted with fear. The traditional sea belief believed that individuals and their entire community, and humans, nature and local deities all assisted each other in ensuring their safety and prosperity, and consequently developed rituals that reflected their worship. The National Research Institute of Maritime Cultural Heritage expects that this exhibition will contribute to restoring the traditional rituals of Korean fishing communities and preserving them for future generations as a crucial element of the marine folk cultural heritage.
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The Cultural Heritage Administration (Administrator Choi Eung-chon) will designate “hanbok saengwal” as National Intangible Cultural Heritage.< 손바느질로 한복을 만들고 있는 모습(조바위의 장식대기) > The Cultural Heritage Administration (Administrator Choi Eung-chon) will designate "hanbok saengwal” as National Intangible Cultural Heritage. Koreans have long transmitted the hanbok (traditional Korean clothes) culture in various ways throughout the history. Hanbok saenghwal is hanbok-derived traditional lifestyle and knowledge that embodies Korean people’s identity and values. Hanbok saenghwal refers to a series of cultural practices which encompass the whole experience of making, wearing, and enjoying hanbok that has been practiced in accordance with specific etiquettes and formalities, differently for each occasion ? ceremonies, rituals, traditional holidays, or recreational events. Hanbok consists of a jeogori (top) and either a chima (skirt) or baji (trousers) with otgoreum (ribbon knotted to close the top) completing its distinct look. It is designed to be worn from the lower garment first and then the upper part. The Intangible Cultural Heritage Committee decided to designate the item as "hanbok saenghwal” instead of its provisional name "hanbok wearing,” considering it better represents the hanbok culture as a whole. Hanbok saenghwal comprehensively encompasses cultural experiences of wearing, making, and enjoying hanbok as well as intangible characteristics of hanbok itself. Hanbok saenghwal has been passed down within families. Koreans keep the tradition of wearing hanbok on traditional holidays like Seollal (Korean Lunar New Year) or Chuseok (Korean equivalent of the thanksgiving holiday), as well as for special occasions like first birthdays, weddings, funerals and ancestral ceremonies. It is true that contemporary Koreans wear hanbok far less frequently than their ancestors. However, hanbok is still worn by Korean people as a means to show respect and courtesy. Before the industrialization period, women used to sew or mend hanbok for their own family members. On traditional holidays, particularly when the seasons change, Koreans would get themselves a new fabric and make clothes to mark the beginning of a new season in hopes for good health and wellbeing. This custom is called differently for each holiday: Seolbim, Chuseokbim and Danobim respectively for Seollal, Chuseok, and Dano (the fifth day of the fifth month of the lunar calendar). Likewise, hanbok is more than just a piece of clothing to Koreans, an important custom through which people have practiced courtesy and wished for each family member’s good health and well-being. This is why hanbok surely is a valuable intangible asset. The fact that ancient Koreans also wore hanbok is evidenced by various artifacts and records such as tomb murals from the Goguryeo dynasty (37 B.C.- A.D. 668), clay figures from the Silla dynasty (57 B.C.?A.D. 935), as well as historical documents from China. It was during Korea’s three kingdoms period (57 B.C.-A.D. 668) when the two-piece, top-and-bottom structure of Korean clothes was basically established. The structure kept evolving and transforming based on our distinct clothing culture until the Joseon dynasty (1392-1910), when the prototype of our own clothes was established. In April of 1900, the government announced a new regulation to officially adopt Western-style uniforms for state officials. With this, Koreans who used to wear only hanbok for thousands of years began to wear both Western-style suits and hanbok concurrently. It is believed that our clothes were called "hanbok” to be distinguished from the foreign clothes ? as "han” refers to "Korean” and "bok” refers to "clothing” ? with Korea opening its ports to the outside world in 1876. However, the exact origin of the word "hanbok” is yet unclear. Although terminology for Korean attire has varied such as "Joseon-ui (Joseon’s attire)” used in a 1881 record of Seungjeongwon Ilgi (the diaries of the royal secretariat), or "hanbok” in a 1894 article from Japanese newspaper, all these historical records show how hanbok embodied Koreans’ lifestyle and culture as well as societal and national spirit at the time. There are special types of hanbok for certain occasions. "Baenaet jeogori” is hanbok for newborn babies. To protect babies’ soft skin, it is made with as few seams as possible. Hanbok called "Kachi durumagi” was named after Kachi seollal, another name of the New Year’s Eve, and children traditionally wore it on the New Year’s Eve and also on the New Year’s Day sometimes. Today, contemporary Koreans dress their babies with Kachi durumagi for the baby’s first birthday party. This outfit has a bright array of colors on its cuff, which reflects people’s hopes to drive out the evil spirits while bringing in good fortunes. For the wedding ceremony, brides traditionally wore a green jeogori and a crimson skirt, as well as ceremonial outerwear called hwalot or wonsam, with jokduri (flower headwear) on their head. For funerals, a shroud for the dead was made without a knot as knots were believed to bring bad luck to the descendants. Koreans also believed they could live long if they prepare the shrouds during the leap months while they are alive. Introduction of Western-style clothing brought about changes to clothes and lifestyle of Koreans. Western clothing replaced hanbok in Korean’s everyday clothes as it was considered more practical and convenient. Hanbok became simpler in its form and began to be reserved for special occasions. Nonetheless, hanbok-wearing still remains today as a way of showing courtesy on special occasions. "Hanbok saenghwal” was designated as National Intangible Cultural Heritage for the following reasons. ▲First, it has long been passed down from generation to generation across the Korean peninsula. ▲Second, records on hanbok have been found from historical artifacts and documents, such as murals of Goguryeo tombs, clay dolls from the Silla Dynasty and historical documents of China. ▲Third, extensive studies on hanbok are currently underway in various fields like history, aesthetics, design, fashion, technology, management, marketing, industry, and education, which will further contribute as valuable academic resources. ▲Forth, it is still practiced particularly within families as a way to show courtesy during traditional holidays. ▲Lastly, traditional knowledge of hanbok saenghwal is transmitted and safeguarded by diverse communities, not only by families but also businesses or research institutions. Meanwhile, the Cultural Heritage Administration will not recognize a specific group or person as a transmitter for the designation, as hanbok saenghwal is a cultural tradition that is being practiced by all Koreans across the Korean peninsula, so are the cases of "kimchi-making” and "jang-making (Korean sauce and paste making).” * National Intangible Cultural Heritage items that do not recognize a specific group or person as a transmitter for the designation (14 items in total as of June 2022):Arirang (Traditional folk song); Jeda (Tea making); Ssireum (Korean wrestling); Haenyeo (Women divers); Kimchi Damgeugi (Kimchi making); Jeyeom (Traditional salt making); Ondol (Underfloor heating system); Jang Damgeugi (Korean sauce and paste making); Traditional Fish-Eosal (Fishing weir); Hwalssoki (Traditional archery); Insam Jaebae and Yakyong Munhwa (Cultivation of Ginseng and its medicinal application); Makgeolli Bitki (Makgeolli making and sharing); Tteok Mandeulgi (Tteok making and sharing); Getbol Eoro (Tidal flat harvesting) The Cultural Heritage Administration will continue to support hanbok saenghwal and other intangible cultural heritage items that are being widely transmitted throughout the nation. It will actively encourage academic research and transmission programs which will promote people to share the values of intangible cultural heritage and participate in the future transmission. The Cultural Heritage Administration is also committed to expand the scope of safeguarding practices by identifying and designating more items as national intangible cultural heritage to facilitate wider range of our traditional culture to be safeguarded and passed down to our future generation.
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National Palace Museum of Korea Presents the Special Exhibition Hyeonpan: Hanging Boards Inscribing the Ideals of JoseonFrom May 18 to August 15, the National Palace Museum of Korea (Director: Kim In Kyu), an affiliate of the Cultural Heritage Administration of Korea, is presenting a special exhibition entitled Hyeonpan: Hanging Boards Inscribing the Ideals of Joseon in its Special Exhibition Gallery. The exhibition presents some one hundred items, including eighty-one royal hanging boards that were inscribed in 2018 on UNESCO’s Memory of the World Register for Asia and the Pacific and related relics such as the nationally designated treasure Gisa gyecheop* and tools for gakjajang.* *Gisa gyecheop: A painting album made in 1719 (the 45th year of the reign of King Sukjong) in commemoration of King Sukjong’s entry into the Giroso (the Office of Elders).*Gakjajang: Master artisans who engraved letters or images on wooden boards and otherwise carried out the production of hanging boards. The exhibition is comprised of five sections ? Prologue: Royal Hanging Boards Brought Down to Us; Part I: Making Hanging Boards; Part II: Embodying Ideals; Part III: Hanging Boards; and Epilogue: Hanging Boards Becoming Part of Life by Transcending Time. The exhibition is particularly meaningful in that it brings together and showcases the royal hanging boards housed in the storage of the National Palace Museum of Korea. The introduction area, "Royal Hanging Boards Brought Down to Us,” presents a video highlighting the history of the Joseon-era royal hanging boards. It covers the time from the damage that they suffered during the period of Japanese occupation until their becoming part of the collection of National Palace Museum of Korea, reminding us of the importance of safeguarding and preserving cultural heritage. The Hanging Board from Daeanmun (Gate of Great Comfort) that had been hung on the main gate of Gyeongungung Palace (present-day Deoksugung Palace), which was a symbolic site in modern Korean history, offers visitors an understanding of the wishes of the people at the time who desired to be ‘greatly comforted’ under turbulent circumstances. This is the largest hanging board (124×374 cm) in the National Palace Museum of Korea collection. The first section, "Making Hanging Boards,” presents the calligraphic styles, materials, and production techniques of hanging boards and sheds light on the artisans sustaining the tradition of the production of hanging boards. Hanging boards were made by artisans with specialties including calligraphic engraving and ornamental painting. The traditional production methods are presented in a video. Also introduced in this section is calligraphy on hanging boards based on models created by diverse figures ranging from kings, renowned calligraphers, and even eunuchs. Among them, Hanging Board with a Record on a Shrine to Patriotic Heroes (produced in 1582)* was written by the noted calligrapher Han Ho (1543?1605) and is the oldest example in the museum’s collection. *Hanging Board with a Record on a Shrine to Patriotic Heroes: A hanging board inscribed with the history of Uiyeolsa, a shrine dedicated to loyal subjects during the reign of King Uija of the Baekje Kingdom and of King Gongmin of the Goryeo Dynasty. The second section, "Embodying Ideals,” contains four themes that highlight hanging boards displaying the ideology of governance by virtue. The subsection "Hanging Boards that Reflect the Duties of a Sage Ruler” presents examples displaying the striving of kings and crown princes toward becoming a sage ruler through learning; "Hanging Boards that Reflect a King’s Affection for His People” presents examples of efforts to stabilize the lives of the people and educate them on morality; "Hanging Boards that Reflect the Ties between a King and His Subjects” presents examples of kings’ efforts to achieve a balance between sovereign power and the autonomy of subjects; and "Hanging Boards that Reflect Filial Piety” presents examples of respect for and honoring parents and ancestors as part of the practice of filial piety. The third section, "Hanging Boards,” contains an impressive display that brings together royal hanging boards with diverse functions on a single wall. Hanging boards sometimes functioned as a sort of bulletin board or official document, for example those featuring a king’s orders and guidelines for his subjects, the assigned duties and rules for government offices, lists of officials and their tasks, and dates of national events. Those with a king’s personal feelings or experiences served as a window through which the king could reveal his thoughts and feelings to the public. These hanging boards demonstrate how the Joseon royal court attempted to regularly communicate with the people. The final part of the exhibition, "Hanging Boards Becoming Part of Life by Transcending Time,” uses photographs and videos to explore the hanging boards that we find around us today and the people working to safeguard them and preserve their value. This section demonstrates that the demand for communication in the past was not so different from that of the present even though times and circumstances have changed significantly. The exhibition offers diverse media content to enhance the understanding of hanging boards. An animated video of a scene of King Jeongjo distributing rice to the people in front Honghwamun Gate (the main gate of Changgyeonggung Palace) was produced based on written records of the scene (Honghwamun samido) from the Royal Protocol of King Jeongjo’s Visit to His Father’s Tomb in the Eulmyo Year. It is presented to help visitors better understand the meaning of honghwa.* Also on view is a video that helps visitors to understand the names of various hanging boards.*Honghwa: Inspiring the people through the exercise of virtue There is also a participatory space in which visitors can try their hands at writing hanging boards using digital technology. The hanging boards they design will appear on a large wall featuring an image based on Eastern Palaces, a painting depicting the layout of Changdeokgung and Changgyeonggung Palaces. Moreover, videos including a curator-guided tour of the exhibition and interviews with master artisans will be available on YouTube. Virtual reality (VR) components presenting panoramic views of the gallery will also be unveiled. Four products (a phone strap, keychain, cardholder necklace, and badge) produced in collaboration with the Korea Cultural Heritage Foundation (Chairperson: Choi Young-chang) will be available for purchase. *Cultural Heritage Administration YouTube: https://www.youtube.com/chluvu*National Palace Museum of Korea YouTube: https://www.youtube.com/gogungmuseum*Korea Cultural Heritage Foundation website for purchase of goods: https://khmall.or.kr/ The National Palace Museum of Korea hopes that this exhibition will serve as an opportunity for visitors to better understand how the Joseon royal court and the ruling class embedded their wishes for harmonious governance and the prosperity of the nation on hanging boards and to think about their own desires for their personal spaces.
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The National Palace Museum of Korea Presents “Royal Vehicles” as the Curator’s Choice for MayThe National Palace Museum of Korea (Director: Kim In Kyu), an affiliate of the Cultural Heritage Administration of Korea, has selected "Royal Vehicles” as its "Curator’s Choice from the Royal Treasures” for the month of May. In addition to being displayed in the museum, they will be presented online in a YouTube broadcast on the channels of the Cultural Heritage Administration and the National Palace Museum of Korea starting May 1. * National Palace Museum of Korea YouTube: https://www.youtube.com/gogungmuseum** Cultural Heritage Administration YouTube: https://www.youtube.com/chluvu These royal limousines respectively carried Emperor Sunjong (r. 1907?1910) and his consort Empress Sunjeong (1894?1966). Sunjong’s was manufactured by the American company General Motors and Sunjeong’s was a British product of the Daimler Motor Company. The vehicles suffered considerable damage while in extended storage in the Royal Garage (previously Bincheong Hall) due to natural corrosion and losses of parts. They underwent five years of repair and restoration beginning in 1997 and were brought up to their current state. They were transferred to the National Palace Museum of Korea in 2005 and have been on display ever since. Both large limousines are equipped with seven seats and feature a body resembling a wooden horse-drawn carriage, thereby demonstrating the evolution of early automobiles. The exterior was finished using ottchil, a traditional Korean lacquering technique. The doors of the vehicles are decorated with designs of a type of plum blossom(yihwamun) that symbolized the Korean imperial court, and the interior is lined with gold silk with yihwamun patterns to display the dignity of the imperial court. The limousines are an important source of information about the culture of the Korean imperial court. Moreover, as high-end limousines incorporating the automobile technology available at the time, the vehicles inform on the development of the automobile. In recognition of their importance, the limousines were designated as National Registered Cultural Heritage in 2006. With the lifting of COVID-19 restrictions, visitors to the museum will be allowed without prior reservations and there will be no limits on the number of people. Moreover, visitors will be able to explore the royal vehicles along with enriching commentary complemented by videos and images delivered by a robot docent named Gobuk. Interactive quizzes will also be provided. Those who are unable to visit the gallery in person can still enjoy this month’s Curator’s Choice virtually through a video with Korean and English subtitles available on the museum’s website (gogung.go.kr) and on the YouTube channels of the museum and the Cultural Heritage Administration of Korea.
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‘Hanbok-wearing’To Become National Intangible Cultural HeritageThe Cultural Heritage Administration (Administrator Kim Hyun-mo) plans to designate hanbok-wearing as a National Intangible Cultural Heritage item. Koreans have worn the traditional Korean attire in one way or another in their lives throughout history. It is a traditional way of life and knowledge that embodies the Korean people’s identity and values. Hanbok consists of the top and the bottom which can be either a skirt or pants. Otgoreum, the ribbons knotted to close the top, completes the look. Hanbok is designed so that people wear the bottom first and then the top. The whole experience of wearing hanbok is, in itself, a culture as it involves unique etiquette and formalities and is executed differently for different occasions ? ceremonies and rituals or traditional holidays or recreational events. Hanbok-wearing has been passed down within families. Koreans today generally wear the traditional wardrobe on traditional holidays like Seollal (the Lunar New Year) or Chuseok (Korean equivalent of the thanksgiving holiday), as well as social rituals like first birthdays, weddings, funerals and ancestral ceremonies. It is true that contemporary Koreans are wearing hanbok far less than their ancestors. However, the fact that people wear hanbok to show their respect remains unchanged. Before the industrialization, housewives would make new hanbok for their family members and mend them when necessary, at home. In particular, on traditional holidays Koreans would get new fabric and make clothes. Such a custom is called Seolbim for Seollal, Chuseokbim for Chuseok and Danobim for Dano (which falls on the fifth day of the fifth month of the lunar calendar). It was customary that Koreans got themselves new hanbok for holidays that mark the beginning of a new season with hopes for good health and peace. As can be seen here, hanbok to Koreans is more than just a piece of clothing, but an important medium through which they showed respect and expressed wishes for good health and peace, which makes it an important intangible asset. Ancient Koreans are also seen donning hanbok in various artifacts and records like the tomb murals from the Goguryeo dynasty (37 B.C.- A.D. 668), clay figures dating to the Silla dynasty (57 B.C.?A.D. 935) as well as historical documents from China. It was during Korea’s three kingdoms period (57 B.C.-A.D. 668) that the two-piece, top-and-bottom structure of hanbok was completed. Since then, its form evolved and transformed repeatedly until the Joseon dynasty (1392-1910) which was when the prototype of hanbok that we know of today was established. In April of 1900, a new regulation on the dress code of civil servants was proclaimed, which changed civil servants’ official attire to Western-style suits from hanbok. With this, Koreans have begun to wear both Western-style suits and hanbok, after wearing hanbok only for thousands of years. It is believed the word ‘hanbok’ is used in order to distinguish Korean wardrobe from that of the Western culture since Korea’s opening of its ports to the outside world in 1876. (Han means Korean.) However, the exact origin of the word ‘Hanbok’ is unclear. The word ‘Joseon-ui’ or ‘Joseon’s attire’ is used in an 1881 record of Seungjeongwon Ilgi (the diaries of the royal secretariat), while the word ‘hanbok’ can be found in an 1894 article from a Japanese newspaper. What is clear is that even in the years leading up to the introduction of Western-style clothing to Korea, hanbok embodied Koreans’ lifestyle and culture as well as societal and national spirit. There are special types of hanbok for certain occasions. ‘Baenaet jeogori’ is the hanbok for newborn babies. For babies’ fragile skin, it’s made with as few seams as possible. The hanbok known as ‘Kachi durumagi’ was traditionally worn on New Year’s Eve ? thus the name, as New Year’s Eve was also known as Kachi seollal. Sometimes, children donned Kachi durumagi on New Year’s Day. Today, contemporary Koreans generally dress their babies with Kachi durumagi on their first birthday party. On this specific outfit, the cuffs have a bright array of colors which reflects hopes for fighting off evil spirits and ushering in good fortune. During a wedding ceremony, a bride traditionally wears a green Jeogori (hanbok top) with crimson skirt as well as ceremonial outerwear Hwalot or wonsam, plus Jokduri or flower headwear on their head. For funerals, a shroud for the dead would be made without a knot as it was believed knots bring a bad luck for the descendants. Koreans also believed that if they made the shroud in advance on a leap month for someone when they are still alive, he or she would live a long life. Introduction of Western-style clothing brought about changes to Korean clothes and lifestyle. For daily wear, Koreans began wearing Western clothes mostly because they were more convenient. Hanbok also became simpler in its form and became something that Koreans reserved for special occasions. Nonetheless, what hasn’t changed is that wearing hanbok is a way of showing respect and bringing about a special version of oneself. ‘Hanbok wearing’ should be designated as national intangible culture heritage, as it ▲has a long history, being passed down through generations across the Korean peninsula, ▲can be found in relics and records like murals of Goguryeo tombs, clay dolls of Silla and historical documents of China, ▲is being studied extensively in various areas like history, aesthetics, design, fashion, technology, management, marketing, industry and education and continues to be a coveted study subject moving forward, ▲is still considered a way to show respect at traditional holidays and rites of passage, having been passed down within families, ▲and furthermore, is in itself cherished traditional knowledge not just in families and communities but also in production and research entities. But the Cultural Heritage Administration will not recognize a specific group or person in the designation, as it is a cultural tradition that all Koreans across the Korean peninsula keep, as are the cases with ‘kimchi-making’ and ‘jang-making (Korean sauce and paste making).’ * National Intangible Cultural Heritage items that do not recognize a specific group or person (Total: 14 items):Arirang (Traditional folk song); Jeda (Tea making); Ssireum (Korean wrestling); Haenyeo (Women divers); Kimchi Damgeugi (Kimchi making); Jeyeom (Traditional salt making); Ondol (Underfloor heating system); Jang Damgeugi (Korean sauce and paste making); Traditional Fish-Eosal (Fishing weir); Hwalssoki (Traditional archery); Insam Jaebae and Yakyong Munhwa (Cultivation of Ginseng and its medicinal application); Makgeolli Bitki (Makgeolli making and sharing); Tteok Mandeulgi (Tteok making and sharing); Getbol Eoro (Tidal flat harvesting) The Cultural Heritage Administration will receive opinions for 30 days on the planned designation of hanbok-wearing as national intangible cultural heritage, before making a final decision. People can share their views on the designation through the administration’s website (http://www.cha.go.kr).
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Gyeongbokgung Palace Nighttime Tour Program started for the 1st half of 2022 - Gyeongbokgung Palace Nighttime Tour Program for the first half of 2022The Gyeongbokgung Palace Management Office (Head Choi Jae-hyeok) of the Cultural Heritage Administration Royal Palaces and Tombs Center is holding the Gyeongbokgung Palace Nighttime Tour Program for the first half of 2022 for 38 days between April 1 and May 29. * During the period, closed on △ every Monday and Tuesday (May 11 - 15) △ Palace Cultural Festival will be held. Also, inside of Gyeonghoeru (national treasure) which is the largest two-story pavilion architecture in Korea will be opened for special tour for seven months from April 1 to October 31. The Gyeongbokgung Palace nighttime tour program is a representative royal palace utilization program that enjoys great popularity, with its tickets sold out as soon as the reservation service starts every year. Offering a beautiful nighttime view of Gyeongbokgung Palace with spring blossom during the first half, Gyeonghoeru where our traditional weeping cherry comes out splendidly and Amisan Chimney where azalea blossoms between delicate lighting are famous night view places to enjoy the atmosphere of spring night. The program can accommodate up to 1,300 visitors per day, visitors excluding foreigners (site issuance of 100 tickers a day) should buy tickets through internet booking (11Street, https://ticket.11st.co.kr/two tickets per person) and may receive their tickets from the ticket machine of ticket box on corresponding day. Viewing is possible from 19:00 to 21:30 (final admission is possible until 20:30). Admission is free for persons of national merit and their spouse, persons with severe disability and their guide, persons with mild disability, National Honorees, children aged 6 and below, seniors aged 65 and above, and visitors dressed in hanbok. Visitors dressed in hanbok need to have a ticket issued at the ticket booth on the day, but others who are eligible for free admission can enter the palace with their ID and/or the relevant document at Heungnyemun Gate without having a ticket issued. * Guardians of a child aged 6 and below must reserve the program online in advance(Korean, Foreigner) or have a ticket issued at the palace(Foreigner). The Gyeongbokgung Palace Management Office intends to implement the safety rules so visitors need to wear a mask, check their body temperature before admission, and maintain physical distancing (2 m) during Gyeongbokgung Palace Nighttime Tour Program. Further details for the Gyeongbokgung Palace Nighttime Tour Program are available on the Gyeongbokgung Palace Management Office website (www.royalpalace.go.kr ☎+82-2-3700-3900~1). Gyeongbokgung Palace Management Office of Palace & Tomb Headquarter of Cultural Heritage Administration expects that the Gyeongbokgung Palace Nighttime Tour Program acts as a motive to enjoy spring picnic and share historical values of the royal palace in Gyeongbokgung Palace that is the representative cultural heritage of Korea and that the palace is positioned as an enjoyable cultural space and a vital cultural heritage for the people.
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The National Palace Museum of Korea Presents “Butchering Knife for Ritual Offerings” as the Curator’s Choice for MarchThe National Palace Museum of Korea (Director: Kim In Kyu), an affiliate of the Cultural Heritage Administration of Korea, has selected the "Butchering Knife for Ritual Offerings” as its "Curator’s Choice from the Royal Treasures” for the month of March. In addition to being displayed in the Royal Rituals of the Joseon Dynasty Gallery on the basement floor of the museum, it will be presented virtually in a YouTube broadcast on the channels of the Cultural Heritage Administration and the National Palace Museum of Korea starting March 2. * National Palace Museum of Korea YouTube: https://www.youtube.com/gogungmuseum ** Cultural Heritage Administration YouTube: https://www.youtube.com/chluvu The Butchering Knife for Ritual Offerings is a knife that was used for sacrificingthe animals offered at the state rites performed at official venues, including the Jongmyo Shrine. This type of knife is known as a nando in Korean (the first character nan signifies ‘bell.’) Illustrations such as the Folding Screen of Illustrated Instructions for Rites Held at the Royal Ancestral Shrine indicate that sacrificial knives of this type featured three bells on their hilts and one each at the spine and tip. The two examples of this kind of knife housed at the National Palace Museum of Korea have both lost their bells, but the holes through which they were attached are clearly visible. They are made primarily of iron, but one of the knives features a design inlaid in silver on the hilt and the area connecting it to the blade. Cows, pigs, and lambs were slaughtered for rites performed at the Jongmyo Shrine, and their fur, blood, livers, and intestinal fat were offered on a ritual table. The sacrifices presented at rituals were an important part of the rites performed at the Jongmyo Shrine, much so that the king inspected the condition of the offerings prior to the rites that he conducted. Animals were sacrificed only in accordance with strict procedures, and this butchering knife was used on such occasions. The five bells attached to the knife indicated the five notes―gung, sang, gak, chi, and wu―that were recognizedstarting in ancient times. The knife was wielded to sound the bells, and it is said that the animal was cut only when the sounds of the bells struck a harmony. The fur and blood of the sacrificed animal were placed in a wide tray-like ritual vessel known as a mohyeolban. The liver and intestinal fat were set in a vessel known as a gannyodeung after the liver had been rinsed with a ritual liquor known as ulchang. The remaining fur and blood were placed in a clean vessel and carefully buried after the performance of the rite. The Butchering Knife for Ritual Offerings reveals the deep respect offered by descendants towards their ancestors when performing memorial rites. Although there are no restrictions on the number of visitors allowed in the gallery, all visitors to the museum must abide by the requirements in place to reduce any potential spread of COVID-19. Those who are unable to visit the gallery in person can still enjoy this month’s Curator’s Choice virtually through a video with Korean and English subtitles available on the museum’s website (gogung.go.kr) and on the YouTube channels of the museum and of the Cultural Heritage Administration of Korea.
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The New Evidence of the Baekje Royal Family’s Funeral Culture in Royal Tombs, Buyeo ConfirmedThe Buyeo National Research Institute of Cultural Heritage (Director: ImSeung-Kyung) has commenced the excavation of the Royal Tomb No.4, Buyeo since the second half of last year. Through this excavation, two potterieswhich illuminate one aspect of the funeral culture of the Baekje period were found. Royal Tombs, Buyeo in maintenance contains six tombs exposed during the Japanese colonial period(1915, 1917) and one tomb discovered during the repair and maintenance work in 1966. However, there are considerable difficulties to apprehend the funeral culture of the Baekje period because of brief research records and a lack of related photos and measured drawings. Especially in the case of Tomb No.4, it has been necessary to re-examined urgently due to the fact that measured drawings were not left and the result of preliminary research that there are quite differences in the size and the location between actual and restored mound. The research showed that Tomb No.4 is a stone chamber tomb with corridor(橫穴式石室墳) which consists of the main chamber(玄室) where the deceased is lying, the tomb entrance tunnel(羨道), and the grave entrance road(墓道). In addition, the mound as upper structure of the tomb remained relatively well, the significant data demonstrating the construction method of the Baekje period’s Royal Tomb. The entire process of the research has been digitally recorded in consideration of future restoration and maintenance. In particular, two buried facilities were firstidentified at the both side of the grave entrance road(墓道). It was confirmed that two potteries were placed upright in the each pit and covered with a flat plate-stone. These facilities are the first case confirmed among Baekje tombs and noted as a critical data related to the funeral culture of the Baekje period. It seems to be a significant evidence to restore ritual process considering the process that the grave entranceroad were dug for buried potteries after its construction. Furthermore, since revealing the filled contents of the potteries has been considered as an important clue to identifying a ritual process of the time, the institution is collaborating with Conservation Science Center in the National Research Institute of Cultural Heritage for conducting an analysis of organic matter from the soil accumulated inside the potteries. In the face of a lack of historical materials, the buried potteries are critical material that can reveal the funeral culture of Sabi period in Baekje. Meanwhile, from March of this year, excavation survey of Tomb No.3(Seohachong) will be promoted. It is noticed that like Tomb No.4, there are differences about the size and the location between the actual and the currently maintained onein Tomb No.3. That is why this excavation will be needed to make an accurate maintenance and restoration plan. Since Tomb no.3 is located adjacent to the south side of Tomb No.4, which was investigated last year, it is expected that critical results will be derived in understanding the geographical conditions of the tumuli and the order of construction in Royal Toms, Buyeo The Buyeo National Institute of Cultural Heritage intends to recover the status of Royal Toms of Sabi period in Baekje through systemic excavation and research of Royal Toms, Buyeo. Furthermore, in order to adjust the correct size and location of the mound that had been over-represented, the institute plans to prepare maintenance and restoration plan for Royal Tombs that fully reflects the latest research and its results. Not only that, it is also planned that the site, Tomb No.3 and Tomb No.4 in excavation will be open to the public while the entire process of investigation will be shared to the public by producing a video, so that the investigation results could be promptly disclosed.
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The National Palace Museum of Korea Presents Folding Screen Embroidered with Pine Tree and Crane Design as the Curator’s Choice for FebruaryThe National Palace Museum of Korea (Director: Kim In Kyu), an affiliate of the Cultural Heritage Administration of Korea, has selected Folding Screen Embroidered with Pine Tree and Crane Design as its "Curator’s Choice from the Royal Treasures” for the month of February. In addition to being displayed in the Korean Empire gallery on the first floor of the museum, it will be presented virtually in a YouTube broadcast on the channels of the Cultural Heritage Administration and the National Palace Museum of Korea starting February 3. This embroidered folding screen was used to decorate interior spaces within the Korean imperial court. It was modeled on a painting by an artist named Yang Gi-hun (1843?1911), who was active in the late Joseon Dynasty and Korean Empire period and was renowned for his paintings on the reeds-and-geese theme. The ninth and tenth panels feature a poem and a type of inscription known as a gwanseo* reading "臣浿江老漁楊基薰敬寫” (meaning, painted respectfully by your subject, Yang Gi-hun (sobriquet: Paegangnoeo)). This indicates that the screen was provided as tribute to Emperor Gojong (r. 1863?1907). A gwanseo inscription and seals of the artist are unique features of court paintings produced during the Korean Empire period. They demonstrate the change from court paintings being produced by the Dohwaseo (Royal Bureau of Painting) to procurement by direct commission or tribute from freelance artists following the abolition of the bureau in 1894. The embroidery on this screen reflects the characteristics of anjusu, the embroidery style of the Anju region in Pyongan-do Province (in present day North Korea). This also illustrates the changes that had taken place in the way that goods were procured for use in the royal court. The production of embroidered goods for the Joseon royal court had been the exclusive responsibility of court women in the Subang (Embroidery Room). However, distinctive local embroidery styles developed in the provincesaround the late nineteenth to twentieth century. Works of embroidery began to be distributed throughout the nation and were eventually introduced to the imperial court in large quantities.Anjusu is one example, and it is known that the Korean imperial court commissioned or received as tribute embroidered folding screens through the local government office in Pyongan-do Province. Moreover, there are photographs of the Korean imperial court with anjusu folding screens in the background, further demonstrating their presence in the court. Although there are no restrictions on the number of visitors allowed in the gallery, all visitors to the museum must abide by the requirements in place to reduce any potential spread of COVID-19. Those who are unable to visit the gallery in person can still enjoy this month’s Curator’s Choice virtually through a video with Korean and English subtitles available on the museum’s website (gogung.go.kr) and on the YouTube channels of the museum and of the Cultural Heritage Administration of Korea.
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