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한글날 (1)

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수 아

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Address

37, Samcheong-ro, Jongno-gu, Seoul

Inquiries

* 1330 Travel Hotline: +82-2-1330
(Korean, English, Japanese, Chinese)
* For more info: +82-2-3704-3114

Operating Hours

March-May, September-October: 09:00-18:00
June-August: 09:00-18:30
November-February: 09:00-17:00

* Last admission is 1hr before closing.
* Last Wednesday, Friday & Saturday of each month open until 21:00

Closed

New Year's Day, the day after Seollal (Lunar New Year's Day) & Chuseok (Korean Thanksgiving Day) holidays

Length of Tour

Approx. 1hr~1hr 30min

VisitKorea does not guarantee the quality of products or services introduced on its site and is not responsible for any direct or indirect losses resulting from use of said products or services.

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National Folk Museum of Korea (국립민속박물관) | Official Korea Tourism Organization

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Address 37, Samcheong-ro, Jongno-gu, Seoul Inquiries * 1330 Travel Hotline: +82-2-1330 (Korean, English, Japanese, Chinese) * For more info: +82-2-3704-3114 Operating Hours March-May, September-October: 09:00-18:00 June-August: 09:00-18:30 November-February: 09:00-17:00 * Last admission is 1hr before closing.

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조선시대 bc: 시월 3 2333 한글만들어졌다.

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Dynasty commissioned a phonetic alphabet with 24 letters for Korean, called hangul.

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우리말에서 글자로 표기하는 자음과 모음은 40개입니다. 그런데 이 중에서 기본이 되는 자음과 모음은 자음 14개, 단모음 10개 이렇게 24개예요

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우리말에서 글자로 표기하는 자음과 모음은 40개입니다. 그런데 이 중에서 기본이 되는 자음과 모음은 자음 14개, 단모음 10개 이렇게 24개예요

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한국 인들은 원래 중앙아시아, 시베리아의 바이칼 호수 지역, 몽골, 황해 연안 지역과 연계되어 있었을 것으로 오랫동안 믿어졌다.

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Capital:

Seoul 1

...(Show more)

Relief

Geologically, South Korea consists in large part of Precambrian rocks (i.e., more than about 540 million years old) such as granite and gneiss. The country is largely mountainous, with small valleys and narrow coastal plains. The T'aebaek Mountains run in roughly a north-south direction along the eastern coastline and northward into North Korea, forming the country's drainage divide. From them several mountain ranges branch off with a northeast-southwest orientation. The most important of these are the Sobaek Mountains, which undulate in a long S-shape across the peninsula. None of South Korea's mountains are very high: the T'aebaek Mountains reach an elevation of 5,604 feet (1,708 metres) at Mount Sŏrak in the northeast, and the Sobaek Mountains reach 6,283 feet (1,915 metres) at Mount Chiri. The highest peak in South Korea, the extinct volcano Mount Halla on Cheju Island, is 6,398 feet (1,950 metres) above sea level.

South Korea has two volcanic islands-Cheju (Jeju), off the peninsula's southern tip, and Ullŭng, about 85 miles (140 km) east of the mainland in the East Sea-and a small-scale lava plateau in Kangwŏn province. In addition, South Korea claims and occupies a group of rocky islets-known variously as Liancourt Rocks, Tok (Dok) Islands (Korean), and Take Islands (Japanese)-some 55 miles (85 km) southeast of Ullŭng Island; these islets also have been claimed by Japan.

There are fairly extensive lowlands along the lower parts of the country's main rivers. The eastern coastline is relatively straight, whereas the western and southern have extremely complicated ria (i.e., creek-indented) coastlines with many islands. The shallow Yellow Sea and the complex Korean coastline produce one of the most pronounced tidal variations in the world-about 30 feet (9 metres) maximum at Inch'ŏn (Incheon), the entry port for Seoul.

Drainage

South Korea's three principal rivers, the Han, Kŭm, and Naktong, all have their sources in the T'aebaek Mountains, and they flow between the ranges before entering their lowland plains. Nearly all the country's rivers flow westward or southward into either the Yellow Sea or the East China Sea; only a few short, swift rivers drain eastward from the T'aebaek Mountains. The Naktong River, South Korea's longest, runs southward for 325 miles (523 km) to the Korea Strait. Streamflow is highly variable, being greatest during the wet summer months and considerably less in the relatively dry winter.

Soils

Most of South Korea's soils derive from granite and gneiss. Sandy and brown-coloured soils are common, and they are generally well-leached and have little humus content. Podzolic soils (ash-gray forest soils), resulting from the cold of the long winter season, are found in the highlands.

Climate

The greatest influence on the climate of the Korean peninsula is its proximity to the main Asian landmass. This produces the marked summer-winter temperature extremes of a continental climate while also establishing the northeast Asian monsoons (seasonal winds) that affect precipitation patterns. The annual range of temperature is greater in the north and in interior regions of the peninsula than in the south and along the coast, reflecting the relative decline in continental influences in the latter areas.

South Korea's climate is characterized by a cold, relatively dry winter and a hot, humid summer. The coldest average monthly temperatures in winter drop below freezing except along the southern coast. The average January temperature at Seoul is in the low 20s °F (about −5 °C), while the corresponding average at Pusan (Busan), on the southeast coast, is in the mid-30s °F (about 2 °C). By contrast, summer temperatures are relatively uniform across the country, the average monthly temperature for August (the warmest month) being in the high 70s °F (about 25 °C).

Annual precipitation ranges from about 35 to 60 inches (900 to 1,500 mm) on the mainland. Taegu, on the east coast, is the driest area, while the southern coast is the wettest; southern Cheju Island receives more than 70 inches (1,800 mm) annually. Up to three-fifths of the annual precipitation is received in June-August, during the summer monsoon, the annual distribution being more even in the extreme south. Occasionally, late-summer typhoons ( tropical cyclones) cause heavy showers and storms along the southern coast. Precipitation in winter falls mainly as snow, with the heaviest amounts occurring in the T'aebaek Mountains. The frost-free season ranges from 170 days in the northern highlands to more than 240 days on Cheju Island.

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South Korea | History, Map, Flag, Capital, Population, President, & Facts

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South Korea, country in East Asia that occupies the southern portion of the Korean peninsula. It faces North Korea across a demilitarized zone 2.5 miles (4 km) wide that was established by the terms of the 1953 armistice that ended fighting in the Korean War. The capital is Seoul.

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I'm Lauren

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수 아

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Jun

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birch

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강세리

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The Republic of Korea was proclaimed in 1948, and in 1950, the south declared independence.

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The Republic of Korea was proclaimed in 1948, and in 1950, the south declared independence.

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수 아

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한국어는 약 7700 만 명이 사용하

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한국어는 약 7700 만 명이 사용하는 동아시아 언어입니다.

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효주

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전통적으로 한국 미술은 비슷한 개념, 모티프, 기술, 형태를 사용하여 중국 미술과 일본 미술의 미학에서 크게 차용해 왔습니다.

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Archeological evidence indicates that people came to Korea from Siberia, via Manchuria during the late Stone Age. The Korean peninsula contains numerous traces of prehistoric art and artifacts dating back to Paleolithic culture (before 10,000 BCE). Siberian X-ray style rock art, for instance, has been found near the southeastern coast of Korea, along with a range of primitive clay pots and utensils. Korean ancient pottery improved during the era of Neolithic art (c.10,000-3,000 BCE) with the creation of flat-bottomed vessels decorated with zigzag patterns, followed by comb-pattern pottery (c.3,000 BCE). These styles may have borrowed elements from Neolithic Art in China (c.7,500-2,000 BCE), but are more likely to have been influenced by Siberian traditions. For more chronological details, see: Pottery Timeline (26,000 BCE-1900).

See also: Oldest Stone Age Art: Earliest 100 Works.

Clearer signs of China's impact on ancient art in the Korean peninsula emerged during the Bronze Age, as Korean painted wares began to come under the influence of Xia culture (c.2100-1600), Shang Dynasty art (c.1600-1050) and Zhou Dynasty art (1050-221 BCE). Siberian influence remained, however, notably in the form of bronze daggers and mirrors very similar to those used by the Scythian peoples of the Eurasian steppe. Korean Bronze Age metalwork also shared certain characteristics with Hallstatt Celtic culture which blossomed in central Europe during this time (c.1000 BCE). The practice of early jade carving also began during the Bronze Age. The crafting of small comma-shaped and tubular "jades" using stones like jade, microcline, jasper, and the like, in southern Korea, began much earlier - in the Middle Mumun Pottery Period (c.850–550 BCE) - and was later continued during the Three Kingdoms. Note: Mumun ceramics had an important influence on Japanese Jomon pottery of the period.

The influence of Chinese Han Dynasty art (206 BCE - 220 CE) became unmistakable during the Early Iron Age (c.300 BCE onwards), when China began creating colonies in northwestern Korea, around 108 BCE. One such colony, Nangnang - close to present day Pyongyang - became a centre of Chinese pottery, as well as bronze sculpture and metalwork, leading to the spread of Chinese culture across the peninsula.

Korean art during recorded history dates from 57 BCE, the start of the Three Kingdoms Period (c.57 BCE – 668 CE), during which the country was ruled by three monarchies: the Goguryeo (Koguryo) kingdom (c.37 BCE–668 CE) an austere culture with links to northern China, that flourished in the north of the country (capital Pyongyang); the Baekje (Paekche) kingdom (c.18 BCE–660 CE), based in the Kongju-Puyo region of southwestern Korea, whose court was more friendly with southern China; and the more remote kingdom of Silla (57 BCE–668 CE) which was based in southeastern Korea (capital Gongju [Kyongju]), east of the Naktong River. The Baekje and Silla courts also developed strong ties with Japan. Baekje rulers, for example, were the first to introduce Chinese writing to Japan, while Silla grey stoneware was replicated in Japan as Sue pottery of the Tumulus, or Kofun, period.

An important catalyst for the development of visual art during Three Kingdoms Period, was the introduction of Buddhism into Goguryeo from China, around 372 CE. Architectural design, in the form of Buddhist temples and pagodas; plastic art, in both statue-form and reliefs, including teracotta sculpture, bronzes, as well as jades and ivory carving; all benefited from the new patronage of religious art. By the 6th century, Buddhism had become the national faith, and from then until the 15th century, it provided nearly all of the most important themes in Korean art.

In Korean sculpture, the Buddha's face tends to be rounder and more expressive than the usual Asian idiom, and wears the distinctive "Baekje smile." The style is reminiscent of the sculptural modelling practised in southern China, particularly in the Nan (Southern) Liang dynasty (502–557), a time when many Chinese sculptors and other craftsmen are believed to have gone to Baekje.

Calligraphy was first introduced to Korea during the Three Kingdoms Period, around 300-400 CE - possibly along with Buddhism - and grew stronger during the Silla Period, when Kim Saeng became recognized as the first Korean calligraphic master.

Tomb art was another important branch of Korean art of the time, although little has survived. A notable exception is the 6th century tomb of King Munyong in Kongju (now a World Heritage site), excavated in 1971, which contained a huge hoard of precious items including beautiful examples of goldsmithing, as well as a mass of decorative works, such as paintings and examples of lacquerware in the Chinese style. Korean tombs were in fact frequently decorated with mural painting - now mostly destroyed - typically executed in rich yellow, brownish red, green, purple and black colours.

From about the sixth century onwards, this fresco painting showed signs of considerable improvement as it fell under the influence of the Chinese arts of the Six Dynasties (220-618 CE), and Sui Dynasty art (589-618). Colour is intensified, Daoist themes are introduced to replace the outdated style of genre painting, and portrait art is also seen in tombs for the first time.

During the final decades of the Three Kingdoms Period, stone sculpture became popular in the Silla kingdom, with Gongju as the centre of production. The impulse for this derived from Tang Dynasty art (618-906) with its distinctive interest in body mass.

In decorative art, precious metalwork was especially highly developed during the Three Kingdoms, producing a wide range of jewellery art, in gold, gilt-bronze, silver, jade and glass. Typical items included crowns and diadems, earrings, necklaces, bracelets, and finger rings.

The most representative type of Korean pottery produced during the Three Kingdoms is the hard, grey, unglazed stoneware made in Silla. Predominant vessel forms include mounted jars and cups. The shoulders of these grayware jars are typically adorned with a variety of human and animal figures. In Baekje, a number of clay tiles marked with reliefs of landscapes appeared during the 7th century, heralding the arrival of landscape painting on the Korean peninsula.

In 668, the Baekje and Goguryeo kingdoms were conquered by the Silla ruler, in alliance with the Chinese Tangs. This ushered in almost three centuries of Silla culture - the golden age of ancient Korean art. Scholars and Buddhist Monks travelled to China to sample its heady cosmopolitan culture, while at home the city of Gongju was modelled on the Tang capital of Changan. Henceforth, southeast Korea became the cultural centre of the country, while northern territories declined.

Under Silla rule, Buddhism enjoyed a renaissance, with a number of fine temples being built in Kyongsang province. Other architectural developments included the widespread use of granite. Korean granite pagodas, for instance, stand in sharp contrast to the wooden pagodas of Japan and the brick pagodas of China. Bronzesmiths were responsible for a large number of temple bells, as well as special receptacles for the sacred ashes of the Shakyamuni Buddha (sharira boxes), and Buddhist statues. During the late ninth century, supplies of bronze almost ran out, causing many statues to be made of iron.

The Silla period was the apogee of Korean naturalism in sculpture. To begin with it was heavily influenced by the heavy Tang style, but by the eighth century it began to take on a softened naturalistic appearance, as exemplified by the standing Amitabha and Maitreya (c.721) from the site of Kamsan Temple, and by the massive but graceful body and a round tranquil face of the main monumental Buddha in the Seokguram cave temple. Korean bodhisattvas were also inspired by Tang figures, such as those sculpted for the Baojing Temple in Xian, China (c.703). By the 770s, however, Silla sculpture had already started to degenerate, a process accelerated during the early ninth century by the overall decline of the Silla kingdom itself.

In the area of decorative arts and crafts, Silla pottery is noted for its ceramic urns, marked by a yellowish green lead glaze and decorated with stamped floral patterns. In addition, earthenware roof and floor tiles decorated with lotus flowers and other floral patterns were commissioned for Buddhist temples and palaces. Bronze bells were another Silla speciality, as shown by the huge bronze bell of King Songdok (771, Gongju National Museum) cast for the Pongdok Temple. Miniature bronze shrines were also produced for Buddhist temples.

It was during the Goryeo Dynasty period that Korea first became known to the Western world; the name 'Goryeo' is the origin of the country's modern name. The founder of Goryeo, Wang Geon (ruled 918-43), established a new capital at Gaeseong, located in present-day North Korea. His policy of expansion northwards led to conflict on the northern border. Despite successive attacks by northern tribespeople from Manchuria, cultural exchanges with the Song Dynasty in China flourished during the early Goryeo period, leaving deep imprints on Goryeo arts and crafts.

The twelfth century was a time of peace and prosperity for Korea. It was during this period that some of the finest celadon pottery was produced. Classic style, jade-coloured, glazed Goryeo celadons were particularly favoured in China, during the era of Song Dynasty art, where they were known as 'first under the heaven'. Korean celadons were uniquely characterized by their sanggam inlaid decoration. The Goryeo celadon hard pillow (c.1150), now in the British Museum, London, is typical of those made for the aristocracy and for Buddhist monks. Used for sleeping at night, this sort of pillow was often buried with its owner when he/she died. Decorated with fine sanggam inlay, the British Museum example features an openwork pattern based on connecting chains. Inlay in various types of material was widely used in the Goryeo period, not only on celadon ware but also on lacquer and metal. Inlay appears in some of the most exquisite Goryeo works of art.

While there are lots of surviving examples of Goryeo decorative arts, little remains of the dynasty's secular painting. Yi Nyeong (active during the reign of Injong, 1122-46) was a famous painter and his works were praised by Emperor Huizong of the Song Dynasty. A fashionable scholarly activity of the Goryeo period was to create ink and wash paintings of the so-called 'Four Gentlemen'- namely bamboo, plum blossom, orchid, and chrysanthemum.

A coup d'etat occurred in 1170, after which the military held power for almost a century, until Mongol invasions (1231-59) led to a restoration of the court's political authority. In 1259 the Goryeo ruler signed a peace treaty with the Mongols, soon to be officially commanded by the Yuan Dynasty under Kublai Khan (1215-94). For the first time, the Korean peninsula (as well as China itself) was controlled by a foreign people. An extensive Mongolization of the Goryeo court was instigated: Goryeo crown princes were compelled to live in the Yuan capital until they became king, and to marry Mongol princesses; people were obliged to take Mongol names, speak the Mongol language and adopt Mongol dress and hairstyles. As in China, Yuan Dynasty art was not renowned for its interest in, or encouragement of, native Korean culture.

It was under the Mongols that Neo-Confucianism was introduced to Korea from China. Chinese painters were invited to Korea and many exquisite examples of Buddhist art were produced during this period. At the request of the Chinese Yuan Dynasty court, Goryeo scholar-scribes and painters went to China, bringing illuminated sutras such as the illuminated manuscript from the Avatamsaka Sutra (Hwaomgyong) (14th century, Cleveland Museum of Art). The frontispiece of this multi-volume sacred text, with its golden brushwork, depicts a temple courtyard in front of which stands a group of figures. The tallest figure, Buddha of the Future (Maitreya), addresses a kneeling pilgrim who asks him about the path to spiritual awakening. All the text of the sutra is painted in silver. Goryeo illuminated manuscripts were included alongside Buddhist paintings as items of tribute and were treasured in China for their aesthetic and religious qualities. The illuminated manuscripts were also highly praised in Muromachi Japan, where a great number of Goryeo works survive in Buddhist temples.

During the Goryeo period, Buddhism was adopted as the state religion; Buddhist temples increased in number and all aspects of Buddhist art flourished. The desire to promote Buddhism actually led to the development of printing in Korea. In the early 13th century, for instance, movable metal type was invented to facilitate the distribution of texts; the oldest surviving metal-printed book in the world, Jikji ("Anthology of Great Buddhist Priests Zen Teachings"), contains the essentials of Zen Buddhism. Meanwhile, the entire Buddhist code was carved onto more than 80,000 woodblocks, known as the "Tripitaka Koreana". Towards the end of the Goryeo Dynasty, however, Buddhism began to fail as the official state doctrine. Indeed, the corruption and the decline of Buddhism in the final period of Goryeo rule contributed to the downfall of the Goryeo Dynasty itself.

Joseon rulers abandoned Goryeo Buddhism and adopted Neo-Confucianism as the official Korean ideology. To expedite the decline of Buddhist thought and to transform the country into a Neo-Confucian society, the founding king of Joseon, Yi Seonggye (1335-1408), and his Neo-Confucian advisers, announced a series of anti-Buddhist measures to reduce the wealth and influence of Buddhist monasteries as well as the aristocratic family clans that had hitherto controlled governmental affairs. All this led to a new elite class, the Neo-Confucian literati, taking over the governing bureaucracy.

The Joseon Dynasty revitalized Korea's native cultural traditions while supporting Ming China and its place at the centre of Confucian civilization. Joseon Korea harked back to classical Chinese sources for inspiration, and in painting, landscape emerged as the primary genre. An Gyeon (active 1440-70), an official painter of the Joseon court, was Korea's most prominent painter in the 15th century. He adopted classical Chinese models from the Song era but expressed distinctly Joseon styles and aesthetic visions. His approach to landscape painting influenced many other Korean artists during his lifetime. In his ink-and-colour silk scroll painting Dream Journey to the Peach Blossom Land (1447, Tenri University Library, Nara, Japan), An Gyeon employed strongly contrasted areas of light and dark and vigorous brushwork to depict a dream related to him by his patron, Prince Anpyeong. The beautiful Peach Blossom Land itself is seen in the right of the painting, enclosed by a ring of jagged peaks. An Gyeon not only understood and practised the traditions of Chinese painting, but also interpreted them with a fresh eye.

In addition to creating imaginary works of this kind, court painters were expected to paint portraits of royals and officials, as well as pictorial records of courtly ceremonies. A large number of Korean scholars and officials were themselves artists, specializing in calligraphy and its sister art of ink and wash painting - the two most prestigious types of fine art and thus most appropriate for the literati class.

The suppression of Buddhism meant that religious art declined both in volume and quality, even though Buddhist ideas remained a potent cultural force, particularly among the lower classes. Buddhist iconography also found its way into Korean folk art, or minhwa, a naive style of painting which depicts mythical figures and lucky symbols, such as deer, tigers, and cranes. Minhwa works were produced in huge numbers from the seventeenth century onwards to satisfy the public's appetite for such images. Typically, Minhwa painters were common people who travelled around the country painting pictures to celebrate a life event.

In the field of ceramics, the most highly valued genre of the Joseon period - a period that coincided with Ming Dynasty art - was white porcelain, which was seen to embody the Neo-Confucian ideals of purity and frugality. However, early in the Joseon Dynasty period there was a parallel development in buncheong stoneware. Buncheong - originally bunjang hoecheong sagi (grey-green ceramics decorated with powder) - is recognizable by the colour of its glaze, which varies from grey and green, to blue. Ceramicists using the sgraffito (scratched away) technique first applied a white slip to the surface of the clay body, after which they engraved a design into it. The remaining traces of the slip were then removed to reveal the body; the item was coated with a glaze and then fired. The buncheong style disappeared after the 16th century as Joseon potters were drawn towards Chinese porcelain, notably Ming ware.

Note: for details of arts and crafts produced in India during the period of the Joseon Dynasty, see: Post-Classical Indian Painting (14th-16th Century), Mughal Painting (16th-19th Century) and Rajput Painting (16th-19th Century).

By the late seventeenth century, Korea's emerging identity as an independent nation began to be reflected in its art. In the eighteenth-century, the most remarkable achievement of Korean painting was the development of jingyeong sansu (true-view landscape). Instead of painting idealized Chinese-style landscapes, Korean painters like Jeong Seon (1676-1759) depicted Korean scenery, as exemplified by his masterpiece entitled Complete View of the Diamond Mountains (1734, Leeum, Samsung Museum of Art, South Korea). [Note: Joseon Koreans perceived Ming China (1368-1644) to be the rightful centre of Confucian civilization; the Joseon elite were well-versed in Chinese classics and artists painted idealized landscapes derived from Chinese models. However, all this changed when China fell to the Manchu Qing Dynasty in 1644. From that point onwards, Joseon Korea regarded itself the keeper of Confucian civilization, and the Korean land and people became the preoccupation of many scholars. It is in this context that Jeong created this work.]

Another important trend was the production of genre paintings with humorous portrayals of life, such as Threshing Rice (1780), in which Gim Hongdo (1745-1806) depicts a lazing, pipe-smoking farmer overseeing hard-working peasants. Such works appealed to Korea's growing middle class. Gim's Seodang (Village School) (late 18th century, National Museum of Korea, Seoul) depicts a Confucian teacher and his pupils. The painting is typical of its genre in that the artist focuses on the individuals and their expressions while leaving the background blank.

During its late phase, Joseon society adhered less rigidly to the austere Confucian virtues of the early period, and enjoyed greater prosperity. The lavish use of cobalt blue colour pigment became all the rage and the production of blue and white Korean porcelain flourished. The growing affluence of the middle class led to a taste for luxury in the applied arts, and lacquerwork inlaid with mother-of-pearl in elaborate designs became popular. Unfortunately, although Korean cultural life flourished throughout the 19th century, the country faced internal rebellion and foreign aggression. In 1910, the Joseon Dynasty finally collapsed after Korea was overrun by the Japanese Empire as part of its expansionist policy.

When the Japanese first invaded, traditional Korean painting was led by Cho Sok-Chin (1853-1920) and An Chung-sik (1861-1919). Cho was the last of the Joseon court painters, and An the last scholar-painter. But both practised the enervated Southern style of Qing Dynasty art, with its stress on fingertip technique.

It is important to realize that the Japanese occupiers of Korea made a concentrated attempt to suppress indigenous art in Korea, by destroying paintings of Korean subjects, closing schools of Korean art, and compelling the few remaining artists to paint Japanese subjects in Japanese styles. The intention was to transform Korean art into Japanese art.

Traditional Korean Art

In 1911, the former Korean imperial family founded an academy of painting to promote the traditional style, which - despite closing in 1919 - trained a number of important painters. By the 1930s, the style of Korean painting was beginning to change under the impact of both Japanese and European influences. In 1922, for instance, the Japanese had instituted an annual painting exhibition for Korean artists, designed to foster a new 'Japanese-style type of academic painting'. At this time, the only up-to-date facilities for studying painting were controlled by the Japanese. Thus, despite the resistance of Korean traditionalists, the Japanese tradition dominated. Important painters from this period included Kim Eun-ho (1892-1979), Yi Sang-beom (1897-1972), Ko Hui-dong (1886-1965), Pyon Kwan-shik (1899-1976), and No Su-hyon (1899-1978). After World War II, traditional painting assumed a much more modern form of expression, as may be seen in the works of radical artists like Kim Ki-chang, his wife Pak Nae-hyon, and Pak No-su. All of these painters were expertly trained in traditional media, such as pen and ink drawing, ink and wash painting and watercolour painting. Their pictures exhibit a confident sense of composition and colour, and also have the quality of genuine abstract art.

Western-Style Korean Art

As far as western-style art was concerned, the main tradition of Korean oil painting throughout the Japanese occupation was the representational school that had its roots in Impressionism. Among the top painters in this category were Yi Chong-u, To Sang-bong (1902-77), Kim In-sung (1911-2001), and Pak Tuk-sun. As well as the new medium of oil, Western art introduced the Renaissance concept of realistic depiction with three-dimensional illusion and linear perspective, along with the notion of art as a career to be pursued as a full-time profession rather than simply a gentlemen's hobby. However, as we have seen, nearly all these changes were introduced during the Japanese occupation from 1910 to 1945, all Korean modern art of this period was refracted through Japan.

This duality of traditional-versus-western painting was maintained after the war: Western-style painting was practiced by Japanese-trained artists, such as Ko Hui-dong, Lee In-sung (1912-1950), and Kim Hwan-ki (1913-74); and traditional Eastern-style painting was practiced by artists such as Lee Sang-bom and Kim Eun-ho (1892-1979), who used either traditional ink or coloured ink.

During the mid-1950s a group of young progressive artists formed a movement called Informel (after the European style of Art Informel), which promoted the western style of abstract art, as initiated by Abstract Expressionism in America. By contrast, the Monochrome art of the 1970s was an attempt to create an authentic Korean art, using the flat surface of the canvas as the fundamental ground for expressing passive, calm, and meditative harmony. In the 1980s, artists belonging to the Minjung Misul (People's Art) movement began to explore social themes and were linked to the political protests of that decade. Another important contemporary contributor to Korean art is the video artist Nam June Paik (1932-2006). After leaving Korea during the civil war, he began in performance art before switching to video and installation.

For more about East Asian arts and crafts, see the following:

- Chinese Terracotta Army (c.208 BCE)
- India: Painting & Sculpture
- Ukiyo-e Woodblock Prints (c.1670-1900)

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Archeological evidence indicates that people came to Korea from Siberia, via Manchuria during the late Stone Age. The Korean peninsula contains numerous traces of prehistoric art and artifacts dating back to Paleolithic culture (before 10,000 BCE). Siberian X-ray style rock art, for instance, has been found near the southeastern coast of Korea, along with a range of primitive clay pots and utensils.

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한국단어가 독창적이다. 

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한국단어가 독창적이다.

이준현

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세종대왕 동상 @ 서울, 광화문 

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세종대왕 동상 @ 서울, 광화문 

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세종대왕 동상

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문화컨텐츠제품마켓

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휴대폰케이스

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Hangul Proclamation day falls on the ninth day of October.

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Hangul Proclamation day falls on the ninth day of October.

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불휘깊은나무_한글시계

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‘뿌리가 깊은 나무는 바람에도 흔들리지 아니하므로, 꽃이 좋고 열매도 많으니.샘이 깊은 물은 가뭄에도 그치지 않고 솟아나므로, 내가 되어서 바다에 이르니.’이는 용비어천가 제2장(사진)의 내용이다.

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‘뿌리가 깊은 나무는 바람에도 흔들리지 아니하므로, 꽃이 좋고 열매도 많으니.샘이 깊은 물은 가뭄에도 그치지 않고 솟아나므로, 내가 되어서 바다에 이르니.’이는 용비어천가 제2장(사진)의 내용이다.

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불휘깊은나무_이미지

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1. Verbs always come last in Korean sentences.

2. There are two different counting systems.

3. The language spoken in North and South Korea is different.

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https://inspirationfeed.com/korean-graphic-design/

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Blair

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Sejong the Great (May 7, 1397-April 8, 1450) was king of Korea during the Choson Kingdom (1392-1910). A progressive, scholarly leader, Sejong promoted literacy and was best known for developing a new form of writing to allow Koreans to communicate more effectively.

Fast Facts: Sejong the Great

Sejong was born under the name Yi Do to King Taejong and Queen Wongyeong of Joseon on May 7, 1397. The third of the royal couple's four sons, Sejong impressed all of his family with his wisdom and curiosity.

According to Confucian principles, the eldest son-named Prince Yangnyeong-should have been the heir to the Joseon throne. However, his behavior at court was rude and aberrant. Some sources claim that Yangnyeong behaved this way purposefully because he believed that Sejong should be king in his place. The second brother, Prince Hyoryeong, also removed himself from the succession by becoming a Buddhist monk.

When Sejong was 12 years old, his father named him Grand Prince Chungnyeong. Ten years later, King Taejong would abdicate the throne in favor of Prince Chungnyeong, who took the throne name King Sejong.

Background to Sejong's Succession to the Throne

Sejong's grandfather King Taejo overthrew the Goryeo Kingdom in 1392 and founded Joseon. He was assisted in the coup d'etat by his fifth son Yi Bang-won (later King Taejong), who expected to be rewarded with the title of crown prince. However, a court scholar who hated and feared the militaristic and hot-headed fifth son convinced King Taejo to choose his eighth son, Yi Bang-seok, as successor instead.

In 1398 while King Taejo was mourning the loss of his wife, the scholar hatched a conspiracy to kill off all of the king's sons besides the crown prince in order to secure Yi Bang-seok's position (and his own). Hearing rumors of the plot, Yi Bang-won raised his army and attacked the capital, killing two of his brothers as well as the scheming scholar.

The grieving King Taejo was horrified that his sons were turning on each other in what became known as the First Strife of Princes, so he named his second son, Yi Bang-gwa, as the heir apparent and then abdicated the throne in 1398. Yi Bang-gwa became King Jeongjong, the second Joseon ruler.

In 1400, the Second Strife of Princes broke out when Yi Bang-won and his brother Yi Bang-gan began to fight. Yi Bang-won prevailed, exiled his brother and his family, and executed his brother's supporters. As a result, the weak King Jeongjong abdicated after ruling for just two years in favor of Yi Bang-won, Sejong's father.

As king, Taejong continued his ruthless policies. He executed a number of his own supporters if they became too powerful, including all of his wife Wong-gyeong's brothers, as well as Prince Chungnyeong's (later King Sejong's) father-in-law and brothers-in-law.

It seems likely that his experience with princely strife and his willingness to execute troublesome family members helped encourage his first two sons to step aside without a murmur and allow King Taejong's third and favorite son to become King Sejong.

Sejong's Military Developments

King Taejong had always been an effective military strategist and leader and continued to guide Joseon military planning for the first four years of Sejong's reign. Sejong was a quick study and also loved science and technology, so he introduced a number of organizational and technological improvements to his kingdom's military forces.

Although gunpowder had been used for centuries in Korea, its employment in advanced weaponry expanded markedly under Sejong. He supported the development of new types of cannons and mortars, as well as rocket-like "fire arrows" that functioned in a similar way to modern rocket-propelled grenades (RPGs).

Gihae Eastern Expedition

Just one year into his reign in May 1419, King Sejong dispatched the Gihae Eastern Expedition to the seas off Korea's east coast. This military force set out to confront the Japanese pirates, or who operated out of Tsushima Island while harrying shipping, stealing trade goods, and kidnapping Korean and Chinese subjects.

By September of that year, the Korean troops had defeated the pirates, killing nearly 150 of them, and rescuing almost 150 Chinese kidnap victims and eight Koreans. This expedition would bear important fruit later in Sejong's reign. In 1443, the daimyo of Tsushima pledged obedience to the King of Joseon Korea in the Treaty of Gyehae in exchange for what he received as preferential trading rights with the Korean mainland.

Marriage, Consorts, and Children

King Sejong's queen was Soheon of the Shim clan, with whom he eventually would have a total of eight sons and two daughters. He also had three Royal Noble Consorts, Consort Hye, Consort Yeong, and Consort Shin, who bore him three, one, and six sons, respectively. In addition, Sejong had seven lesser consorts who had the misfortune of never producing sons.

Nevertheless, the presence of 18 princes representing different clans on their mothers' sides ensured that in the future, the succession would be contentious. As a Confucian scholar, though, King Sejong followed protocol and named his sickly eldest son Munjong as Crown Prince.

Sejong's Achievements in Science, Literature, and Policy

King Sejong delighted in science and technology and supported a number of inventions or refinements of previous technologies. For example, he encouraged the improvement of a moveable metal type for printing first used in Korea by 1234, at least 215 years before Johannes Gutenberg introduced his groundbreaking printing press, as well as the development of the sturdier mulberry-fiber paper. These measures made better-quality books much more widely available among educated Koreans. Books that Sejong sponsored included a history of the Goryeo Kingdom, a compilation of filial deeds (model actions for followers of Confucius to emulate), farming guides meant to help farmers improve production, and others.

Other scientific devices sponsored by King Sejong included the first rain gauge, sundials, unusually accurate water clocks, and maps of the stars and celestial globes. He also took an interest in music, devising an elegant notation system for representing Korean and Chinese music, and encouraging instrument-makers to improve the designs of various musical instruments.

In 1420, King Sejong established an academy of 20 top Confucian scholars to advise him called the Hall of Worthies. The scholars studied the ancient laws and rites of China and previous Korean dynasties, compiled historical texts, and lectured the king and crown prince on Confucian classics.

In addition, Sejong ordered one top scholar to comb the country for intellectually talented young men who would be given a stipend to retreat for one year from their work. The young scholars were sent to a mountain temple, where they read books on a vast array of subjects that included astronomy, medicine, geography, history, the art of war, and religion. Many of the Worthies objected to this expansive menu of options, believing that a study of Confucian thought was sufficient, but Sejong preferred to have a scholar class with a wide range of knowledge.

To aid the common people, Sejong established a grain surplus of approximately 5 million bushels of rice. In times of drought or flood, this grain was available to feed and support poor farming families to help prevent famine.

Invention of Hangul, the Korean Script

King Sejong is best remembered for the invention of hangul, the Korean alphabet. In 1443, Sejong and eight advisers developed an alphabetic system to accurately represent Korean language sounds and sentence structure. They came up with a simple system of 14 consonants and 10 vowels, which can be arranged in clusters to create all of the sounds in spoken Korean.

King Sejong announced the creation of this alphabet in 1446 and encouraged all of his subjects to learn and use it:

The sounds of our language differ from those of Chinese and are not easily communicated by using Chinese graphs. Many among the ignorant, therefore, though they wish to express their sentiments in writing, have been unable to communicate. Considering this situation with compassion, I have newly devised twenty-eight letters. I wish only that the people will learn them easily and use them conveniently in their daily life.

Initially, King Sejong faced a backlash from the scholar elite, who felt the new system was vulgar (and who likely did not want women and peasants to be literate). However, hangul quickly spread among segments of the population that previously did not have access to enough education to learn the complicated Chinese writing system.

Early texts claim that a clever person can learn Hangul in a few hours, while someone with a lower IQ can master it in 10 days. It is certainly one of the most logical and straightforward writing systems on Earth-a true gift from King Sejong to his subjects and their descendants, down to the present day.

King Sejong's health began to decline even as his accomplishments mounted. Suffering from diabetes and other health problems, Sejong became blind around the age of 50. He passed away on May 18, 1450, at the age of 53.

As King Sejong predicted, his eldest son and successor Munjong did not survive him by much. After just two years on the throne, Munjong died in May 1452, leaving his 12-year-old first son Danjong to rule. Two scholar-officials served as regents for the child.

This first Joseon experiment in Confucian-style primogeniture did not last long, however. In 1453, Danjong's uncle, King Sejong's second son Sejo, had the two regents murdered and seized power. Two years later, Sejo formally forced Danjong to abdicate and claimed the throne for himself. Six court officials formed a plan to restore Danjong to power in 1456; Sejo discovered the scheme, executed the officials, and ordered his 16-year-old nephew burned to death so that he could not serve as a figurehead for future challenges to Sejo's title.

Despite the dynastic mess that resulted from King Sejong's death, he is remembered as the wisest and most capable ruler in Korean history. His accomplishments in science, political theory, military arts, and literature mark Sejong as one of the most innovative kings in Asia or the world. As shown by his sponsorship of Hangul and his establishment of the food reserve, King Sejong truly cared about his subjects.

Today, the king is remembered as Sejong the Great, one of only two Korean kings honored with that appellation. The other is Gwanggaeto the Great of Goguryeo, r. 391-413. Sejong's face appears on the largest denomination of South Korea's currency, the 10,000 won bill. His military legacy also lives on in the King Sejong the Great class of guided missile destroyers, first launched by the South Korean Navy in 2007. In addition, the king is the subject of the 2008 Korean television drama series Daewang Sejong, or "King Sejong the Great." Actor Kim Sang-kyung portryed the king.

Kang, Jae-eun. "The Land of Scholars: Two Thousand Years of Korean Confucianism." Paramus, New Jersey: Homa & Sekey Books, 2006.

Kim, Chun-gil. "The History of Korea." Westport, Connecticut: Greenwood Publishing, 2005.

"King Sejong the Great and the Golden Age of Korea." Asia Society.

Lee, Peter H. & William De Bary. "Sources of Korean Tradition: From Early Times through the Sixteenth Century." New York: Columbia University Press, 2000.

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Biography of King Sejong the Great of Korea, Scholar and Leader

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Sejong the Great (May 7, 1397-April 8, 1450) was king of Korea during the Choson Kingdom (1392-1910). A progressive, scholarly leader, Sejong promoted literacy and was best known for developing a new form of writing to allow Koreans to communicate more effectively.

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Blair

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The Korean Alphabet Day, known as Hangeul Day (한글날) in South Korea, and Chosŏn'gŭl Day in North Korea, is a national Korean commemorative day marking the invention and the proclamation of Hangul (한글; 조선글), the alphabet of the Korean language, by the 15th-century Korean monarch Sejong the Great. It is observed on October 9 in South Korea and on January 15 in North Korea. Excluding year 1990 to 2012 where the government maximized business days to expedite industrial growth, Hangul day has been a national holiday in South Korea since 1970.

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The Korean Alphabet Day, known as Hangeul Day (한글날) in South Korea, and Chosŏn'gŭl Day in North Korea, is a national Korean commemorative day marking the invention and the proclamation of Hangul (한글; 조선글), the alphabet of the Korean language, by the 15th-century Korean monarch Sejong the Great. It is observed on October 9 in South Korea and on January 15 in North Korea. Excluding year 1990 to 2012 where the government maximized business days to expedite industrial growth, Hangul day has been a national holiday in South Korea since 1970.

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King Sejong is a celebrated Korean ruler who can literally say he invented the alphabet.

He was also one of two rulers in the country's history awarded the titles "the Great."

Sejong the Great was the fourth king of the Joseon Dynasty, and ruled from 1418 - 1450. During that time there was evolution of Korean Confucianism in politics, accomplishments in the science, arts and other areas of Korean society.

One of his greatest achievements is writing "Hunminjeongeum," the publication that created Hangul, the Korean alphabet (celebrated every year on Oct. 9 as Hangul day).

The manuscript begins by explaining why a new script is needed.

In the preface, Sejong the Great writes that the Korean language (originally adapted from Chinese characters) is very different from Chinese characters. The adapted characters were difficult for people to learn, and only aristocrats could use them well. He also says common people could not make themselves clear enough to be understood, leading to illiteracy.

He created 28 letters for a Korean alphabet. As time went on, revisions were made. Currently, 24 characters are used and are still under ongoing studies.

Government officials and aristocrats opposed the spread of "Hunminjeongeum," but they were outnumbered. The publication was completed in 1443 and approved in 1446. It spread among lower-class citizens, who were finally able to read and write.

After the publication of "Hunminjeongeum," longer documents followed. The next volume was called "Hunminjeongeum Haerye."

"A wise man can acquaint himself with them before the morning is over; a stupid man can learn them in the space of ten days," the "Hunminjeongeum Haerye" says.

Many scholars value the project because of its originality, creativity and practical use of language.

It is designated as National Treasure No. 70 in Korea and was honored by the United Nations in 1997.

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King Sejong is a celebrated Korean ruler who can literally say he invented the alphabet. He was also one of two rulers in the country's history awarded the titles "the Great." Sejong the Great was the fourth king of the Joseon Dynasty, and ruled from 1418 - 1450.

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Korean Alphabet Chart Korean Alphabet Letters A-Z Korean Alphabet for Beginners South Korean Alphabet Korean Alphabet to English Alphabet Korean Hangul Basic Korean Alphabet Korean Phrases Korean Alphabet in Order Korean Vowels Full Korean Alphabet Korean Alphabet Chart Printable Korean Alphabet Worksheet Learning the Korean Alphabet Learn Korean Hangul Alphabet

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서울 광화문에 세종대왕 동상과 박물관이 있습니다. 

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서울 광화문에 세종대왕 동상과 박물관이 있습니다. 

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한글날 퀴즈 / 학습지 포함