ENG 뉴스목록
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День корейской культуры прошел в музее15 мая 2022 года в Сахалинском областном художественный музее прошел День корейской культуры. Он был организован совместно с РОО «Сахалинские корейцы». В этот день желающие могли совершить экскурсии по залу «Современное искусство Кореи». Отличное настроение многочисленным гостям подарил концерт сахалинских творческих коллективов и солистов: ансамбль корейских национальных инструментов «Ханыль», танцевальный ансамбль «Ариранг», вокалистки Юлия Че и Марина Со. Также гостям музея была представлена презентация, рассказывающая о корейской культуре, ее особенностях и традициях. Ну и конечно же, всем пришелся по душе мастер-класс по каллиграфии, где гости смогли написать на корейском фразу «Расцвели цветы мугунхва». А на мастер-классе по игре на традиционных корейских ударных инструментах желающие изучили не только ударные ритмы на корейском барабане «бук», но и несколько танцевальных движений. Пользовалась популярностью и фотозона «Национальные корейские костюмы». День корейской культуры прошел в рамках празднования «2022 год – год культурного наследия народов России». [출처] 2022년 5월20일(음력 4월20일) 새고려신문 (사할린 새고려신문) | 작성자 bplus7
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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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[УРИМАЛ БАНСОН] Лицо Сахалина, ЛИ Е СИКУРИМАЛ БАНСОН 사할린우리말방송 2016. 6. 18.
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On the Russian Press Day, the New Korea Newspaper Lee Ye-sik received the Contribution Award for Photojournalist.Sakhalin photographer Ye-sik Lee (photo reporter for Saekoryo Shimbun) received the Achievement Award from Governor Valery Limarenko of Sakhalin on the Russian Press Day. According to the president of Sakhalin Saekory Shimbun Bae Wiktoria, "Reporter Ye-sik Lee has been working as a photographer for the Sakhalin Newspaper since 1989." Reporter Lee Ye-sik is a second-generation Korean born in Sakhalin in 1949. His father was brought to Sakhalin for forced labor in 1943. After graduating from university in Sakhalin, he has been working as a freelance photographer since 1973. Since 2002, he has held five photo exhibitions in Seoul and Sapporo, Japan, and has been introducing works focusing on the lives of Sakhalin compatriots through solo exhibitions in Sakhalin. In addition to the exhibition five years ago, Lee Ye-sik's photo book 'Return' (Nunbit Publishing Company) was released. Reporter Lee Ye-sik said, "I've been thinking about publishing a photo book for many years, but I'm so happy to have my first photo book with this exhibition." Born in Sakhalin, Lee Ye-sik is an artist representing Koreans in Sakhalin, which contains the lives and fields of Sakhalin compatriots for more than 50 years from the days of freelance. The biography of Professor Yesik Lee is as follows. Lee E-Sik Born 1949 in Makarov, Sakhalin Graduated from Sakhalin Wafurushevo High School He studied at Novosibirsk University of Architecture and Communication, He taught drafting at the Sakhalin Yuzhno-Sakhalinsk Technical School. Freelance photojournalist in the Sakhalin state press since 1973 1989-Present working as a photojournalist for the New Korea Newspaper 1997 Chekhov Prize. International Internet site photo contest award 2002 Solo exhibition in Seoul, Korea and Sapporo, Japan 2003 Solo exhibition on the theme of "Korean Life in Sakhalin" in Osaka, Japan Solo exhibition in Yuzhno-Sakhalinsk, Sakhalin, 2003-2009 2017 Lee Ye-sik photo exhibition 'Return' (Busan 40-Step Cultural Center Exhibition Room) 2018 Lee Ye-sik Photo Exhibition (Sakhalin History Museum)
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2021 National Gugak Center Seminar
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National Research Institute of Cultural Heritage has published three books on the research results of Goryeo metalworks and Silk Road artThe National Research Institute of Cultural Heritage (NRICH; JI Byongmok, Director General) of the Cultural Heritage Administration has published three books - Understanding the Goryeo Metalwork 2, Encyclopedia of the Silk Road Western Region: Central Asia (Western Turkestan),and The Art of Silk Road: New Research Trends and Perspective. Understanding the Goryeo Metalwork 2 is the sequel to Understanding the Goryeo Metalwork published in 2020. This edition features a collection of 130 household crafts from the Goryeo Dynasty. There have been few remaining relics or documentary records that are seldom available for viewing. The book features small knives, needle case, makeup brushes, and other miscellaneous personnel objects used by the Goryeo people, as well as accessories such as bracelets and hairpins. For an easy and accurate understanding of these artifacts, detailed names, terms, and uses are provided along with drawings and pictures.*needle case: A cylindrical case to keep needles Encyclopedia of the Silk Road Western Region: Central Asia (Western Turkestan) is a follow-up study to Encyclopedia of the Silk Road Eastern Region: Xinjiang of China published in 2019. While the earlier publication deals with the eastern part of the Pamir Plateau, this volume covers its western part - Central Asia and a part of West Asia. The book contains 33 thematic studies on various subjects encompassing history, religion, Buddhist art, and crafts of this region where research has been challenged by limited access to the relics and materials. For over three years since 2018, NRICH and experts in related fields have compiled domestic and foreign research results and arranged photos, maps, lists of plates, and references to enable easy understanding.* Pamir Plateau: A plateau in Central Asia spanning Tajikistan, China, India, Pakistan and Afghanistan. The Art of Silk Road: New Research Trends and Perspectivecontains six different articles onSilk Road art in Central Asia, written by the world renowned scholars from the U.S., Germany, Italy, and Japan. This book, published in both Korean and English, intends to publicize the latest international research results on Silk Road art at home and abroad. These volumes will be distributed to domestic and overseas public libraries and related research institutes. E-books will also be available on the official website of the Cultural Heritage Administration (www.cha.go.kr) and the NRICH Cultural Heritage Research Knowledge website (www.nrich.co.kr) for public viewing. NRICH will continue to strive in earnest to conduct research on artistic heritage and disseminate them at home and abroad for stimulatingworldwide public interest in Korean cultural heritage.
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2020 Second International Symposium on Digital Heritage - Next Digital Transformation: Broadening the Territory of Digital Heritage -The 2nd International Symposium on Digital Heritage, titled "Next Digital Transformation: Broadening the Territory of Digital Heritage,” will be held as a virtual online meeting in the annex building of the National Palace Museum by the Cultural Heritage Administration (CHA) of Korea (Ms. Jae-suk Chung, Administrator) on December 34, 2020, in close cooperation with the Digital Heritage Lab at the Graduate School of Culture Technology, Korea Advanced Institute of Science and Technology, and PoST MEDIA Inc. Sixteen national and international experts have been invited to deliver lectures and participate in discussions for this symposium. The symposium is a series of annual conferences on digital heritage organized by CHA. This year’s symposium is the second meeting and has the following objectives: to share best practices in the documentation, conservation, management, interpretation, and utilization of cultural heritage within the application of digital heritage technologies and to strengthen the professional network among the heritage professionals. In the face of the COVID-19 pandemic, the symposium will be livestreamed as a webinar through a YouTube channel(https://bit.ly/3fqvcVr) in both Korean and English, and simultaneous interpretation will be available. The innovative advancement of digital technologies, referred to as the Fourth Industrial Revolution and DNA (Data, Network, and AI), is widely affecting cultural heritage policies overall. Such advancements have also accelerated the integration of digital transformation of cultural heritage policies, which are quite different from conventional policies, expanding the roles and values of digital heritage. In light of the above, the symposium will unveil best practices in digital documentation for cultural and natural properties in a holistic way by discussing historic monuments, museums, and cultural heritage and its attributed values, natural heritage, and underwater archaeology. The symposium will also discuss relevant trends, concerns, practical challenges, and possible solutions. In particular, in the face of the COVID-19 pandemic, this symposium is expected to rediscover the value of digital heritage resources and seek other development potential for the promotion and enjoyment of our shared heritage. The symposium will commence with two important keynote lectures. The title of one is "Potential for the utilization of VR, AR in integration of the digital twin” to be delivered by Professor Woontack Woo, Head of Graduate School of Culture Technology at KAIST, and the other is "Cultural heritage recording and documentation in the pandemic era” by Professor Efstratios Stylianidis, President of ICOMOS CIPA Heritage Documentation, Vice Rector for Research & Lifelong Learning, Aristotle University of Thessaloniki, Greece. The first session of the symposium will be about Digital Documentation: the recognition of less-represented heritage categories, and the following three presentations will be given: 1) Toward building a guideline for the three-dimensional digital documentation of Natural Heritage (Visiting Professor Jaehong Ahn, KAIST CT, Digital Heritage Lab), 2) Digital documentation for underwater heritage or archaeology The iMARECULTURE project experience (Professor Dimitrios Skarlatos (Cyprus University of Technology, Cyprus), and 3) Digital documentation for natural heritage Jeju Volcanic Island and Lava Tube, World Heritage (Mr. Seungho Jung, Researcher, Natural Heritage Division, National Research Institute of Cultural Heritage). The second session of the symposium will be about Digital Documentation: the interconnection between historic monuments and their broader environments and values, and the following three presentations will be given: 1) Digital documentation (method) for largescale cultural heritage sites Silk Roads of UNESCO World Heritage Site (Dr. Dmitriy Voyakin, Director of the International Institute for Central Asian Studies), 2) Capitalizing on digital technologies in the conservation of our heritage under lockdowns (Professor Mario Santana Quintero, Vice-president of ICOMOS, Carleton University, Canada), and 3) Establishment of 3D cultural heritage database and its utilization (Mr. Yeon Gyu Choi, Deputy-Director, ICT Management Office, Cultural Heritage Administration). The third session of the symposium will be about Digital Documentation: resources for heritage interpretation and utilization, and the following three presentations will be given: 1) The mediation of digital heritage to support the values of inaccessible or destroyed buildings (Professor Pierre Hallot DIVA - Documentation, Interpretation, VAlorisation of Heritages, Universit de Lige, Belgium), 2) Use of digital heritage resources within the museum context (Professor Mona Hess, Institute for Archaeology, Heritage Conservation Studies and Art History (IADK) University of Bamberg, Germany), and 3) Cultural heritage, immersive contents, museum What to prepare? (Ms. Eunjeong Chang Curator, Museum Digitization and General Management Division, National Museum of Korea). For more details, please visit the following website: www.cha.go.kr The Cultural Heritage Administration of Korea believes that this symposium will pave the way for the development of the digital heritage domain in Korea in all aspects of our digital heritage efforts. CHA will continuously strengthen a professional network of digital heritage professionals from here and abroad and discuss the role of digital heritage and its contribution in the field of cultural heritage management and utilization, including research and knowledge sharing.
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The National Palace Museum of Korea, Special exhibition Encounter with the Brilliant Scientific Technology of the Joseon Dynasty,>The National Palace Museum of Korea (Director Kim, In-Gyu) of the Cultural Heritage Administration, together with Sudo Institute of Cultural Heritage (Director Oh, Kyong-Taek), holds a special exhibition under the title Encounter with the Brilliant Scientific Technology of the Joseon Dynasty, from November 3rd to December 31st,. at the Special Exhibition GalleryⅡon the 1st floor of the museum, to exhibit all 1,775 pieces of artifacts excavated at the Insadong site last June. This exhibition is sponsored by LG Household & Healthcare, The Story of Whoo. Since the excavation in June from the Insadong site was reported in the media, the found artifacts received so much attention from the public. This exhibition answers to such enthusiasm and aims to present the relic to the public for everyone to enjoy. The exhibition is made of two parts. ▲Part 1‘Metal Type of Early Joseon Dynasty Unearthed at the Insadong Excavation Site’, and ▲Part 2 ‘Excavated Artifacts and the Study of Meteorology in Early Joseon Dynasty’. ▲Part 1 greets the visitors with a pottery jar that was found broken, which contained 1600 pieces of metal type. 1300 pieces of metal type that require further research to find out when they were made are exhibited on one side of the exhibition hall. On the other side, other pieces of metal type with known production years are exhibited. Of the latter group, 48 Metal type of 1434 which was made in 1434 under King Sejong’s orders (Year 16 of King Sejong), 42 Metal type of 1455 (Year 1 of King Sejo) and 214 Metal type of 1465 (Year 11 of King Sejo) are on display. Of the found metal type, Chinese character ‘火’meaning‘fire’and‘陰’meaning‘shadow, silence’can be cross-checked in the Geunsarok (Reflections on Things at Hand近思錄, 1435, Treasure, National Palace Museum of Korea), which is already confirmed to have been printed using the Metal type of 1434. The two letter type‘火’and ‘陰’along with additional 48 metal types with the same form and shape are exhibited alongside the aforementioned book. Metal type of 1455 has been cross-checked against Neungeomgyeong (The Sutra of the Heroic One, 1461, Treasure, Courtesy of Seoul Museum of History) and Metal type of 1465 against Wongakgyeong (The Complete Enlightenment Sutra, 1465, Treasure, Courtesy of Horim Museum), are also displayed in the same manner. At various locations, magnifying glasses and tablets with photos of the artifacts have been placed to invite the visitors to take an even closer look at the small metal type. The Hanging Board of the Type Casting Office, Jujaso and the Hanging Board with the History of Type Casting will also be on display. ▲Part 2 exhibits excavated artifacts that demonstrate the scientific endeavors and the achievements of the early Joseon Dynasty. The most important artifact in this section is the Sun-and-Star Time Determining Instrument, which uses the shadows made by the sun during the day and the stars at night to tell the time. Up until now, the instrument existed only in the records. This excavation brought the instrument back to life. Although one out of the three rings is not complete, we can still envision how it would have looked like when they were in actual use. Next to the newest addition, we also exhibit the Simplified Sundial (National Palace Museum of Korea), which will help the visitors understand how the Sun-and-Star Time Determining Instrument works. The Simplified Sundial is made of three parts; a round ring with time indicating marks around it, a metal base and holder, and a stone pedestal. It is the first time that all three parts of the Simplified Sundial will meet the public. The Internal Component of Self-striking Water Clock was also unearthed. It is a rectangular metal plate with round holes on it in regular intervals. The Self-striking Water Clock has a doll that notifies the time. The discovered component is used to release marbles that will activate the movement of this doll. A video clip showing where the found component belongs to in the Self-striking Water Clock, and how it functions, will be played next to the exhibited artifact. Among the excavated artifacts from Insadong, one Hand Cannon (1583) and seven small Hand Cannons (1588) will be displayed with a clear description of when they were made, by whom, how much it weighs and how much gun powder it must use; as these facts are engraved on the cannon body. Pieces of a Copper Bell, marked to have been made in 1535, and different types of Metal Coins are also on exhibit.The finale of the exhibition showcases a video showing how a typical day on the excavation site is like, with the lively voices of the experts who participated in the excavation project. Along the vivid ambiance sounds of the project site, the visitors will also be entertained with special music performed by Park Dawool, who received much attention at a band competition program. Park Dawool composed a new piece of music for this exhibition, embedding the meaning of the found artifacts and the excavation site. In the second week of November, recorded performance by the artist himself in the exhibition hall will be uploaded on the Youtube channels of the Cultural Heritage Administration and the National Palace Museum of Korea. Additional print material and online content will be provided to make the exhibition viewing experience even more enriching. The exhibition catalog and digital images of the excavated artifacts can be downloaded from the National Palace Museum of Korea’s homepage. And in the second week of November, two more video clips on the behind-the-stage stories of the excavation and the curator’exhibition commentary will be uploaded on the Museum’s Youtube. Special VR showing the entire exhibition hall, explanations of the artifacts and related photos will also be provided. This exhibition aims to first, bring all of the excavated artifacts to meet the general public, and second, to provide an opportunity for collecting basic data for further investigation and research. We hope you will enjoy this exhibition as you meet the magnificent scientific artifacts from early Joseon that have finally come to shine
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Discoveries and Research Outcomes of Major Archaeological Sites in 2020The National Research Institute of Cultural Heritage (NRICH; JI Byongmok, Director General) of the Cultural Heritage Administration published the Korean and English editions of the 2020 Journal of Korean Archaeology, introducing the major discoveries in the field of Korean Archaeology. The NRICH has published the Journal of Korean Archaeology every year, showcasing major archaeological sites - selected among numerous sites - for their academic importance. This issue features the research outcomes and discoveries of the distinguished archaeological sites which have attracted significant attention from both academia and the media in 2020. It unveils a total of twenty-nine national archaeological sites including the Paleolithic Wolpyeong Site in Suncheon to the Chungjueupseong Walled Town of the Joseon Period. The journal especially covers the restoration process of the paleoenvironment of Silla through various ecofacts and artifacts recovered from the "Wolseong Moat” and the introduction on the newly established Cultural Heritage Analysis Information Center of NRICH. The 2020 issue also provides the special online links to the Archaeological Discoveries which allows the readers to explore the research sites by simply scanning the QR-codes. The 2020 Journal of Korean Archaeology will be distributed to national and public libraries and research institutions as well as to the related international organizations. It is also available at the official website of the NRICH Cultural Heritage Research Knowledge Portal(www.nrich.co.kr, ) for public access. Furthermore, the 45th Annual Conference of the Korean Archaeological Society will take place on November 6th, 10:00 a.m. at the Hwabaek International Convention Center in Gyeongju, Korea. The nine selected entries, introduced in the 2020 Journal of Korean Archaeology, will be presented at this conference. As an ‘executive agency’, the NRICH will strive to pave the way to lead the field of archaeology worldwide by accumulating and publicizing the up-to-date academic materials of diverse cultural heritage sites.
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‘Tteok Making’ To Become National Intangible Cultural HeritageThe Cultural Heritage Administration (Administrator Kim Hyun-mo) plans to designate the making of Tteok, Korean rice cake, as the National Intangible Cultural Heritage. The designation will recognize the making and sharing of Korean rice cake as traditional culture and way of life. Koreans have made tteok by steaming grain flours in siru, the traditional steamer, boiling or baking, depending on the type of the rice cake. From a long time ago, they have enjoyed making and sharing with others different kinds of tteok for major milestones in their lives and important national holidays. Historically, rice cake has been a key offering at various rituals in Korea. They include rites held for village gods wishing for peace and prosperity as well as similar rites held for house gods like sangdalgosa. Rice cake is also offered at gut rituals held by traditional shamans. In modern-day Korea, people distribute rice cake among others in their community when they open a business or move into a new place. More on rites and gut rituals;*sangdalgosa: Rite people hold on an auspicious day in October for house gods. People offer newly harvested grains and fruits and prepare sirutteok(steamed rice cake), sharing it with neighbors.*byeolsingut: Large-scale gut ritual held by shamans in villages*jinogwigut: Gut ritual aimed at cleansing the spirit of the deceased person so that he or she may cross over to the world of the dead. Also called ssitgimgut. Tteok, in that sense, is more than just a tasty delicacy. Given that Koreans distributed rice cake among others in their community in every special moment of their lives, it can be considered an embodiment of sharing and generosity, as well as a symbol of the unique Korean concept of jeong, or a deep connection, and harmony. It is also notable how different types of rice cake were made for different occasions and how each had a story of its own. This makes tteok intangible cultural heritage that people need to learn in order to fully understand the Korean culture. It is unclear since when Koreans made rice cake. However, archaeological findings show that Koreans ate rice cake since the ancient times. Siru, the traditional steamer, has been unearthed in historic sites of the Bronze Age and Iron Age. Siru can also be seen in the mural of fourth-century Anak Tomb No. 3 in South Hwanghae, North Korea. Furthermore, a Chinese character, 餠, that means rice cake can be found in Samguksagi, or a historical record of the Three Kingdoms of Korea written in the 12th century. That people cooked rice cake can also be found in various historical documents like the 13th-century literary collection of Donggukisanggukjip written by Lee Gyu-bo; and the 14th-century literary collection of Mokeunjib written by Lee Saek. During the Joseon Dynasty (1392-1910) that followed, agricultural technology developed and food processing techniques also made strides. As a result, ingredients and recipes for making rice cakes became much more diverse. In particular, cooks at royal palaces and noble households were at the forefront of introducing new flavors and types. New names of tteok and recipes can be found in various food, farming or housekeepingdocuments like Sangayorok; Jeungbosanrimkyungje; Gyuhapchongseo; and Eumsikdimibang. More than 200 different types of rice cake can be found in various historical documents. Different types of rice cake are made and shared on different occasions. For instance, parents have traditionally prepared baekseolgi(white steamed rice cake) for their baby’s 100th-day celebrations. The type is traditionally considered pure and sacred and Korean parents have wished through the rice cake that the baby will grow up innocent and bright. They also prepared patsusugyeongdan (sorghum ball cake made of red beans) to prevent bad luck in the baby’s life, based on the folklore that ghosts shun the color red. A common traditional saying also encourages parents to share the 100th-day rice cake with 100 households to ensure the baby of a long, healthy life. In traditional Korean weddings, it is customary that the bridegroom sends to the bride’s house before the wedding a wedding box, called ham in Korean. The bride’s family is supposed to place the box on top of a steamer that contains red ppatsiru (layered rice cake with red beans). This type of rice cake, also known as bongchitteok or bongchaetteok, stands for a wish for the harmony between two households and a blessing of the matrimony. There is also goimtteok, which is prepared for both for a person’s 60th birthday celebration and jerye, the rite for remembering ancestors. It represents a wish for long, healthy life and commemorating ancestors’ virtues, respectively. Koreans have also traditionally enjoyed tteokguk (soup made with white rice cake pieces) on the New Year’s Day for a clean start to a New Year. And they prepared songpyeon (half-moon shaped rice cakes) with newly harvested grains when they pay their respects at their ancestors’ tombs during the Chuseok Holidays in the fall to thank them. Songpyeon comes in various kinds depending on the region, like potato-filled songpyeon and white radish-filled songpyeon. There was also a saying that women who make pretty songpyeon will marry fine husbands and pregnant women who make pretty songpyeon will give birth to beautiful daughters. It is also interesting to compare different types of rice cake in different regions and explore their origins. Gangwon-do province, for example, has always had ample supplies of potatoes and corns and thus the signature tteok from Gangwon are sirutteok made of potato and corn. Jeju-do Island, on the other hand, was scarce of rice and instead had plenty of grains. As a result Jeju’s famous rice cakes ? namely omekitteok, bingtteok, chajopssaltteok ? are made of red beans, buckwheat and millet. The introduction of Western cooking culture in the late 19th century brought many changes to the Korean cuisine and less Koreans are now making rice cake at homes. However, the number of rice cake mills increased, which led to the distinction between sellers and buyers of rice cake. Nonetheless, the tradition of sharing rice cake on special occasions is still very much a part of Korean lifestyle. Therefore, the Cultural Heritage Administration believes Tteok making should be recognized as a national heritage in its own right for following reasons; ▲it has a long history and has been passed down to present-day generation across the Korean peninsula; ▲there are many records of rice cake making in historical documents dating back to the Three Kingdoms Period (57 B.C.-A.D. 668); ▲it can be further explored academically in various fields like food and nutrition or folklore; ▲different regions have developed their own signature rice cake based on their climate and environment; ▲and even at present, various entities like rice cake mills, tradition study groups and simply average households are making rice cake, keeping the tradition very much alive. However, the CHA decided it will not recognize a specific group or person in the designation, as it is a cultural tradition that all Koreans across the Korean peninsula are keeping, as was the case with ‘kimchi making.’ * National Intangible Cultural Heritage items that do not recognize specific group or person (Total: 12 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 Fishing-Eosal (fishing weir); Hwalssoki (traditional archery); Insam jaebae and yakyong munhwa(cultivation of Ginseng and its medicinal application); Makgeolli bitki(Makgeolli making and sharing) The Cultural Heritage Administration plans to continue to expand the scope of protection through the designation of new national intangible cultural properties so that our traditional culture can be passed down to future generations.
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‘JejuKeungut’ To Become National Intangible Cultural HeritageThe Cultural Heritage Administration (Administrator Kim Hyun-mo) plans to designate JejuKeungut, the largest shamanistic ritual in Jeju, as the National Intangible Cultural Heritage. JejuKeungut, also known as Jeju Grand Gut, is the shamanistic ceremony that has been passed down for the longest period in Jeju Island. It encompasses traditional music, dance and game as well as the history of the people of Jeju. It is usually conducted by more than five people ? including the leading simbang, or shaman ? and continues for 7 to 14 days.*simbang- shaman in Jeju dialect JejuKeungut has a long history and as a result maintains the original format of Korean gut. It consists of music, dance, oral epics and games indigenous to Jeju, which makes it a highly valuable subject of study. Experts also note its format: It begins with a ritual of inviting gods and bringing them to a special seating area; and progresses in stages like yeongsin, osin, songsin, consecutively.The shaman’s narrative song, yeoldubonpuri, reflects the views of the Jeju people on creation, life and death. * yeongsin- Shaman receives and guides gods, before starting gut*osin ? Shaman entertains by giving praise to gods with dances and songs*songsin ? Shaman concludes gut and sends off gods*yeoldubonpuri? Shaman sits in front of an ancestral ritual table and introduces gods by reciting the account of their histories. There are several well-known examples like ‘cheonjiwangbonpuri’, ‘chogongbonpuri’, ‘yigongbonpuri’, ‘samgongbonpuri.’ It is also notable how the shaman’s narrative uses the Jeju dialect from a long time ago. Linguists note how it is tantamount to adictionary of Jeju dialect and thus, an invaluable source for their research. JejuKeungut Preservation Society (Director Seo Soon-sil), the group that has been preserving this gut ritual, will also be acknowledged in the designation. Established in 2012, the society has the capabilities to reenact the JejuKeungut in its original form, and has been continuously dedicated to passing down the JejuKeungut to people today. It has been more than 40 years since a Jeju gut ritual that embodies the joy, sorrow and life of the Jeju people has been designated as a national intangible heritage item. In November of 1980,JejuChilmeoridangYeongdeunggut was recognized as a national intangible heritage item in Korea.* JejuChilmeoridangYeongdeunggut(Fishing village’s shaman ritual) - a ritual held at Chilmeoridang in the village of Gun-rip to pray for calm seas and a plentiful sea catch. It was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2009. The Cultural Heritage Administration will receive opinions for a monthon the planned designation and hold a committee review session, before making a final decision on the designation.
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TIDAL FLAT HARVESTING ENTERS THE NATIONAL HERITAGE LISTTIDAL FLAT HARVESTING ENTERS THE NATIONAL HERITAGE LIST The Cultural Heritage Administration is announcing in the official gazette the planned entry of a new element onto the National Intangible Cultural Heritage list. Designated under the name "tidal flat harvesting," the new element encompasses the traditional knowledge and skills, the communal practices, and the rites associated with collecting invertebrates in the tidal flats along the western and southern coasts of the Korean Peninsula. Coastal wetlands, nicknamed "sea fields" in Korea, have long provided an important source of livelihoods for local people. The traditional practice of maintaining tidal flats as communal property has been transmitted to the present in the form of village cooperatives. Korean tidal flats are a treasure trove of diverse ocean resources and have held a disproportionate influence over the formation and development of the nation’s diet. Harvesting in Korean tidal flats can be performed with the bare hands or using tools. Diverse skills are applied depending on the condition of the tides and currents. Methods and tools differ based on the geological environments of particular areas as well―whether mud or sand dominates the seabed or whether there is gravel present. The practice of harvesting shellfish and other invertebrate animals in coastal wetlands enjoys a long and steady history on the Korean Peninsula. The western and southern coastal areas have produced many large shell middens dating to the New Stone, Bronze, and Iron Ages all the way to the Goryeo Dynasty. Written records on tidal flat harvesting can be found in a book on seafood from the Joseon period―Jasan eobo by the Biologist Jeong Yak-jeon (1758?1816). Tidal flat harvesting involves a number of performative rites, enriching Korean culture and traditions. The most well-known community tradition associated with it is the gaet je, a seasonal festival praying for a good harvest. This coastal village ritual is also called "a rite to call clams" or "a rite to call oysters." Members of a local village gather to invite all kinds of edible sea creatures into their flats as if they were humans. In addition, there are separate community rituals for predicting the quantity of the catch or to celebrate a good harvest. The ecological, social, and cultural values of tidal flats are increasingly being appreciated these days. A growing number of tidal flats in Korea have been designated as UNESCO Biosphere Reserves and as provincial-level natural parks by the Korean government. Four tidal flat areas spanning Seocheon, Gochang, Sinan, Boseong, and Suncheon were collectively inscribed on the World Heritage List this past July. Coastal communities practicing tidal flat harvesting are strongly committed to the healthy transmission of their tradition. They voluntarily abstain from harvesting during collectively designated fallow periods and release juvenile invertebrates. These practices testify to the traditional Korean cosmology in which nature is not imagined as a material that humans are intended to exploit, but part of a greater cycle encompassing both humans and non-humans. Tidal flat harvesting was positively evaluated during the deliberation process for the following reasons: It possesses a time-honored history with many active transmission communities over an extensive area; This history is supported by written records from at least the Joseon period; The diverse skills and techniques manifested in tidal flat harvesting hold great potential for academic research; There are many unique rites and festivals associated with tidal flat harvesting; The practice shows great local diversity through, for example, the different tools applied; and It continues to serve as an important source of livelihoods in Korean communities. As tidal flat harvesting is being transmitted across the western and southern coastal areas in many villages, no particular individuals or organizations will be recognized as "holders" of this element. The notice on the planned listing of tidal flat harvesting will be posted for 30 days, during which opinions from the public will be collected to inform the final decision on the designation of this new element as National Intangible Cultural Heritage. There is a social network platform through which members of the public may freely submit their opinions (instagram.com/k_intangible_heritage_u).
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Goryeo Dynasty Artworks Housed at an Overseas Institution to Be Showcased Following Conservation and Restoration TreatmentThe National Palace Museum of Korea (Director: Kim In Kyu), an affiliate of the Cultural Heritage Administration of Korea, is presenting the special exhibition In Pursuit of the Aesthetic Legacy of the Goryeo Dynasty in celebration of the 120 years of diplomatic relations between Korea and Belgium. Showcasing eight artworks from the Goryeo Dynasty from the collection of the Royal Museums of Art and History in Brussels, Belgium that have recently been restored in Korea, the exhibition will be held from September 8 through October 17. This exhibition, which is a part of the Overseas Cultural Heritage Conservation and Utilization Support Project of the Overseas Korean Cultural Heritage Foundation (Chairperson: Choi Eung Chon), presents to the Korean public for the first time eight works (six celadon vessels and two metal items) from the Goryeo Dynasty. They recently underwent conservation and restoration treatment at the National Research Institute of Cultural Heritage (Director General: Ji Byong Mok) and will be displayed prior to being returned to their home institution in Belgium. The six celadon vessels are decorated with sanggam inlay, an ornamental effect considered remarkable even among the ornate adornment techniques applied during the Goryeo Dynasty. All of them are presumed to have been produced in the late Goryeo period. The designs featured on the vessels are motifs that were widely popular at the time ? including a waterside landscape (featuring willows, reeds, lotus flowers, and waterfowls), clouds and cranes, and grapevines and boys. Five of the vessels (excluding the Celadon Bowl with Inlaid Crane and Cloud Design) once belonged to Victor Collin de Plancy (1853?1922), the first French consul to Korea (dispatched in 1888). They changed hands afterwards and ultimately joined the collection of the Royal Museums of Art and History in Brussels, Belgium between 1946 and 1947. The celadon vessels underwent conservation and restoration treatment that included removing traces of discoloration and aligning and reattaching broken pieces. In particular, a comprehensive comparative analysis of the form, angle, size, and designs of gourd-shaped celadon ewers of the Goryeo Dynasty determined that the previously-restored handle and spout of the Celadon Gourd-shaped Ewer with Inlaid Grapevine and Boy Design were inappropriate to the piece. A detailed analysis of data related to celadon held both at home and abroad was carried out using 3D imaging, and a new spout and twisted handle were created. The mouth and lid of the ewer were also restored to complete the ewer. Parts of the Celadon Bottle with Inlaid Lotus and Willow Design that had been previously treated showed discoloration, so the stains were removed and the vessel was re-treated to achieve a color match. The Gilt-bronze Case for Acupuncture Needles and the Bronze Kundika are the first metal pieces to be selected for conservation and restoration under the Overseas Cultural Heritage Conservation and Utilization Support Project. The treatment of the metalworks focused on the preservation of their original state and slowing the corrosion process to the degree possible. Corrosion was removed from both works, and stabilization and consolidation treatment was performed. In addition to presenting a physical exhibition for these eight restored Goryeo Dynasty artworks, the National Palace Museum of Korea will present the works in a virtual format starting September 17. Videos documenting the conservation and restoration process and interviews providing insights into the exhibition will be available for viewing on the National Palace Museum of Korea website and the YouTube channels of the Cultural Heritage Administration and the Museum. Moreover, a virtual reality (VR) component will be unveiled that allows a vivid experience of the exhibition. * National Palace Museum of Korea website: www.gogung.go.krNational Palace Museum of Korea YouTube: https://youtube.com/gogungmuseumCultural Heritage Administration YouTube: https://youtube.com/chluvu Moreover, the Overseas Korean Cultural Heritage Foundation will host an online international academic event in conjunction with the exhibition bringing together representatives from the home institution of the artworks, experts on history and art history, and specialists who took part in the conservation treatment. The event is open to anyone who is interested and will be available for viewing online via the YouTube channel of the Overseas Korean Cultural Heritage Foundation.* Period: September 7 (Tue) ? October 8 (Fri), 2021* Overseas Korean Cultural Heritage Foundation YouTube: https://www.youtube.com/user/okchf Visitors must make a timed reservation to view the exhibition in person. Reservations can be made online via the museum’s website or in person at the on-site ticket office. To reduce the potential for the spread of COVID-19, visitors must comply with the requirements in place, including making reservations. Guidelines for reservations are available on the museum’s website. In addition, visitors must wear a face covering, go through a temperature screening upon entry, and follow the designated one-way path through the gallery. The Cultural Heritage Administration hopes that the special exhibition In Pursuit of the Aesthetic Legacy of the Goryeo Dynasty will offer an opportunity to discover the charms and meaning embodied in these Goryeo Dynasty artworks that have been newly restored to their original state through technology.
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Academic Symposium of Research on Traditional Materials, Lime, Hanji and DancheongThe National Research Institute of Cultural Heritage (NRICH, Director General, JI, Byong Mok) under the Cultural Heritage Administration (CHA) of Korea holds the academic symposium, 『 Value and Future of Traditional Materials 』 for two days on Sept 7~8, 2021 at the convention hall of Hotel ICC in Daejeon, Korea. This symposium has been prepared to share achievements of the research on traditional materials such as lime, Hanji and Dancheong which has been carried out by Restoration Technology Division of NRICH from 2014 to 2021. The symposium is made up of 19 presentations in 3 sessions in order of the first session: research on traditional lime (14:00~18:00 on Tue, Sept 7), the second session: research on traditional Hanji (09:00~12:40 on Wed, Sept 8) and the third session: research on traditional pigments, Dancheong (14:00~17:50 on Wed, Sept 8). In the comprehensive discussion after presentations, it will be discussed how to apply quality improvement plans of traditional materials and technologies which were restored by the research to cultural heritage sites. This symposium is held non-contact to prevent the spread of COVID-19 and broadcast live on YouTube. The symposium proceedings can be downloaded at the research publications homepage (https://portal.nrich.go.kr) of NRCH. Please inquire of Restoration Technology Division (042-860-9348) of NRICH about further information.* YouTube Channel of NRICH (Live Streaming) - Sept 7 (14:00~18:00): https://youtu.be/IgLfj9cAeOE - Sept 8 (09:00~17:50): https://youtu.be/ZyqT4HXM7uY The National Research Institute of Cultural Heritage under the Cultural Heritage Administration is expecting people to understand values of traditional materials for restoration of cultural heritage and to realize the need of scientific research through this symposium. And furthermore, it tries to contribute to turning traditional materials for restoration of cultural heritage into future resources by working on the research of restoration and invigoration of traditional materials.
많이본뉴스
많이 본 뉴스
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- 3춘향국악대전 판소리 명창부 대상에 이소영씨
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