Korean Cultural Heritage and Its Documentation Korea's writing system i…

The Korean alphabet, known in Korean as "Hangeul" (Unique and Great Alphabet) is really outstanding and unique in many respects and it certainly deserves to be more widely and appropriately known. ... King Sejong the great(1397-1450), the fourth king of the Lee dynasty, created a new phonetic alphabet in the 15th century. A distinguished phonetician and linguist himself among others, the king took up the historical task of creating a new writing system for the Korean people. Despite ill health and eye disease from which he suffered perennially, the King devoted himself to the task for several years. It could be surmised that in the course of the venture the king was helped to certain extent by some of the brilliant scholars around him such as Jeong In-ji, Sin Suk-ju, Lee Gae, etc., but all the documented evidence confirms that the King was the dominant project leader singularly responsible for the making of a new writing system that was named "Hunminjeongeum (訓民正音)", which means "Right Sounds to Teach the Nation" or "Teaching the People the Right Sounds". ... The king Sejong invented the new alphabet of 28 letters in 1443 in the 25th year of his reign. But care was taken by the king to test the new alphabet before he made it public. After three years of test period, the new alphabet Hunminjeongeum(Jeongeum for short) was officially promulgated at the king's command by Jiphyeonjeon, "Hall of the Worthy" in 1446, in the form of a 33-page book written in Chinese. ... Thus, Hangeul is unique among the world's writing systems in having been created at a specifiable time(When), by identifiable inventor(Who), for Whom(and Why), Where, How, and without any direct influence from already existing writing systems, to ultimately become a national writing system in Korea for over 600 years. Moreover, it is worth noting that no other writing systems have ever been promulgated at the command of a king in the form of a book. ... The book Hunminjeongeum was designated as National Treasure No. 70 to ensure its preservation, and it was also registered in UNESCO's Memory of the World in October 1997 as an important world heritage. ... The Korean alphabet was created with the express purpose of providing the Korean people with an easy and efficient writing system, compared to the Chinese characters that were difficult even for the upper class Koreans to learn and use in their everyday life. Ordinary Koreans simply could not afford to learn the Chinese characters since it took so much time and efforts, in fact many years, just to learn the basic Chinese characters for everyday use. Furthermore, the Chinese characters were not only unsuitable but also inconvenient to express the linguistic structure of Korean words and sentences. ... Chinese language, my poor subjects(K ... . Therefore I ... to create a new alphabet of 28 letters so that my people ... freely and easily learn and ... it for their every ... Jeongeum was invented and officially promulgated in Hanyang, now the Capital City of Seoul, Korea. It has been made possible for all of us to identify all the details of the making of Jeongeume including the exact date of the invention and the place of official promulgation thanks to the original copy of the book Jeongeum that was found in 1942 in Andong, South Korea. ... The Korean alphabet exhibits a number of characteristics and merits that are not normally found in other writing systems of the world. ... Hangeul is not simply an alphabet of one country, korea. It has every right to be named a global alphabet for all human beings in the world, regardless of race, creed and language. ... The Korean alphabet is a highly sophisticated writing system consisting of sets of interrelated organic phonetic symbols, each set representing either the shape of the organs of speech or their articulatory movements. The Korean alphabet is, in a true sense of the word, a set of phonetic symbols designed to represent the visible speech of human beings. ... The extinction of a language indicates not only the loss of the diversity of human culture but also the extinction of an important human heritage. Since the awareness of endangered languages had been raised, the documentation of these languages has begun from the mid 1990s in order to pass them down to the next generation. And this movement became much more active during the last decade. In Korea, the documentation of Altaic languages was carried out from 2003 to 2009 by the Altaic Society of Korea, sponsored by Korea Research Foundation. ... However, these projects have a limitation that their main interest lies in recording the languages on the verge of extinction, thereby not being able to prevent the languages from extinction itself. Most endangered languages do not have writing systems and have a small number of native speakers. To preserve endangered languages and to maintain the diversity of human culture, we need to make great efforts to offer writing systems and textbooks to the native speakers of those languages, so that they could teach their indigenous languages in elementary schools. Supported by the Hunminjeongeum Society, we analyzed the language of the Cia-Cia people living without their own writing system in Bau-Bau City in Indonesia. Based upon this analysis, we devised a writing system of the Cia-Cia language using Hangeul, the Korean alphabet, and distributed a Cia-Cia textbook entitled ‘Bahasa Cia-Cia 1’. The Cia-Cia language education started at Karya Baru Elementary School in Bau-Bau City from 22 July, 2009. The Cia-Cia language education is expected to be expanded to other elementary schools from mid July, 2010. ... -Bau City, ... an intention to sign a MOU for educational and cultural cooperation with the Hunminjeongeum ... letter: 1) the education of the Korean ... , 2) devising a writing system of ... Hangeul, ... Four delegates from the Hunminjeongeum Society visited Bau-Bau City on 15-18 July, 2008. Bau-Bau City and the Hunminjeongeum Society signed the MOU at the ceremony held in City Hall on 16 July. At the meeting held after the signing ceremony, the mayor of the city recommended the Cia-Cia language, a major indigenous language in Bau-Bau City. And we agreed to begin the Cia-Cia language education at an elementary school in Sorawolio district, which is the center of the Cia-Cia people, from July, 2009. When we visited the Cia-Cia village in Sorawolio district just after the meeting, the leaders in this village called a meeting and decided to adopt the Korean alphabet to write down their language. ... The Cia-Cia textbook was published on 16 July, 2009 and the first Cia-Cia class started at Karya Baru Elementary School in Bau-Bau City on 22 July, 2009. The adoption of the Korean alphabet by the Cia-Cia people got nationwide news coverage in Korean mass media on 6-7 August, 2009. This news created a public sensation among Korean people who have a strong attachment to their alphabet. It also got prominent coverage in foreign news such as New York Times, Wall Street Journal, Voice of America, and NHK. ... Using Chinese characters to write down the Korean language was so difficult for Koreans that the majority of Koreans were illiterate before the invention of Hangeul. King Sejong invented Hangeul, so that even common people could easily learn to read and write with Hangeul. We are carrying out our project based on this spirit. A tribe without a writing system cannot record their history and culture. Moreover, as the education of their mother tongue at school is impossible, the language is very likely to be extinct. We want to save the endangered languages by devising a writing system with Hangeul, writing textbooks, and supporting the education of those unwritten languages, as we did for the Cia-Cia people. We sincerely wish Hangeul adopting tribes to preserve their language and culture, and develop their community through cultural and economic cooperation with Korea.

| Korea's official script is Hangeul, the unique Korean alphabet. This name, a compound of han, meaning "the Korean people" or "great" and geul, meaning "letters," was given to it early in the 20th century. The creator of hangeul was King Sejong the Great (reigned 1418-1450), the fourth king of the Joseon Dynasty. Sejong was concerned that Chinese characters, until that time used to write Korean, were a writing system for representing Chinese, a language completely different in structure from Korean, and were therefore hard for Koreans to learn and use. | | | --- | --- | | In the twelfth lunar month of 1443, he completed development of a writing system suitable for representing Korean, which he called Hunminjeongeum, "Proper sounds to instruct the people." Hunminjeongeum was an alphabet formed of 28 letters. Today's hangeul uses only 24 of these, having dropped four. This orthography not only represents the Korean language perfectly but also is easy to learn and use. It is recognized as being both original and scientific. | | --- | | Sejong himself wrote a preface clarifying the origin and the purpose of the new alphabet and giving brief examples and explanations of each of its letters, while he had the scholars of the Jiphyeonjeon, or "Hall of Worthies," give detailed explanations and examples of them. The resulting work was published in the ninth lunar month of 1446, and the new alphabet was widely made known to the public. The work's title was the same as the then name of the alphabet, Hunminjeongeum. The recently discovered complete edition is known as the Haerye Edition of Hunminjeongeum (Haerye referring to the explanations and examples of the Jiphyeonjeon scholars, which were missing in the previously known editions). | | ... | The extract publication date is not clear. But in the Annals of King Sejong, the official record of his reign, it is noted that the book was published in the ninth month of 1446, and the scholar Jeong In-ji's so, or “postface," which appears in the volume, was written in the first ten days of the ninth lunar month of 1446, so we can judge that it was published by the tenth day of that month. This date, converted to the solar date October 9, has been designated Hangeul Day, a national holiday. | | ... | Many people have tried to make letters to try to represent their languages. This has been one of the important themes of world history. The world's major orthographies gradually took form and came into use over long periods of time. Moreover, most of them were changed through use over time. The development of Korea's hangeul is a unique example of a few people, in a short time, without any direct influence from any already existing orthography, inventing a new writing system for a language which enabled mass literacy, one which eventually would become its official script. Moreover, the publishing of a book on a new alphabet is not only something that had never happened before Hunminjeongeum was published in 1446 but something that has not happened since. | | | --- | --- | | The publication of such a unique book with such excellent content in 1446 is without doubt a historic event. How fortunate it is that even one copy of this work has been handed down to us just as it was. These are the reasons why Hunminjeongeum is not only a Korean national treasure but an achievement which must be preserved forever as a legacy of world culture. | | --- |

is a 15th-century manuscript that introduced the Korean script Hangul. The name of the manuscript was also the original name of the script. King Sejong the Great commissioned the royal research institute Hall of Worthies to write the Hunminjeongeum to describe the writing system he had invented in 1443. The manuscript was then published in 1446. Hunminjeongeum was intended to be a simpler alternative to the incumbent Chinese-based Hanja, in order to promote literacy among the general populace. It originally included 28 letters, but over time, four of those (ㆆ, ㆁ, ㅿ, ·) were abandoned, leading to the current 24 letters of Hangul. ... ongsang Province. An early copy ... the document is in the Gansong Art Museum in Seoul, South Korea. In 1962, ... e was designated a National Treasure in South Korea and was registered by UNESCO in ... Memory of the World Programme in 1 ... Before Hangul, the Korean alphabet, was created, Chinese characters were used to transcribe Korean words through systems such as idu, hyangchal and gugyeol. Since Chinese language and Korean language share few similarities, borrowing Chinese characters proved to be inefficient to reflect the spoken language. In addition, at the time when Sejong the Great was inventing Hangul the Ming dynasty had just come to power in China, which changed the pronunciation of Chinese characters, making it harder for Koreans to learn the new standard pronunciation to record their words. The illiteracy level also stayed high since reading and learning Chinese characters was restricted among the ordinary people. They were generally used in official documents by the ruling class. The ruling class took advantage of this and learning the Chinese characters became a symbol of power and privilege. In order to make written language more accessible for common people, Sejong the Great started creating Hangul secretly, since the ruling class would be appalled by the news. Hangul was personally created by Sejong the Great, the fourth king of the Joseon dynasty, and revealed by him in 1443. Although it is widely assumed that Sejong the Great ordered the Hall of Worthies to invent Hangul, contemporary records such as the Veritable Records of King Sejong'' and Chŏng Inji's preface to the Hunminjeongeum Haerye emphasize that he invented it himself. This is stated in Book 113 of The Annals of King Sejong (Sejongsillok) on the 9th month and the 28th year of reign of King Sejong and at the end of An Illustrated Explanation of Hunminjeongeum (; Hunminjeongeum Haerye). Afterward, King Sejong wrote the preface to the Hunminjeongeum, explaining the origin and purpose of Hangul and providing brief examples and explanations, and then tasked the Hall of Worthies to write detailed examples and explanations. The Hunminjeongeum was published and promulgated to the public in 1446. The writing system is referred to as Hangul today but was originally named as Hunminjeongeum by King Sejong. "Hunmin" and "Jeongeum" are respective words that each indicate "to teach the people" and "proper sounds." Together Hunminjeongeum means "correct sounds for the instruction of the people." ... Hunminjeongeum Yeui is written in Classical Chinese/Hanja and contains a preface, the alphabet letters, and brief descriptions of their corresponding sounds. The Classical Chinese (Hanja) of the Hunminjeongeum has been partly translated into Middle Korean. This translation is found together with : an annotated Buddhist scripture and is called the Hunminjeongeum Eonhae. ... 《训民正音》（、）是朝鲜王朝第四代国王世宗大王李祹与其子第五代国王文宗大王李珦主导创制的朝鲜语文字，又称谚文（），今多称韩文（）、韩字（）、朝鲜文（）、朝鲜字（）。原有28字，其中母音字母11个，子音字母17个。该书完成于朝鲜世宗25年（1443年）末或朝鲜世宗26年（1444年）初，于朝鲜世宗28年（1446年）正式出版。 ... 由于朝鲜文人和贵族的抵制，无法成为官场上普遍使用的文字，因此政府决定也就与汉字并用，其通用范围局限在两班之间的私函、地方官衙或妇女。谚文直到20世纪末才被广泛使用。虽然后来逐渐发现韩文仍不能取代汉字，但其发明推动了近代韩国政治、经济、文化向平民的发展，世宗大王也得到了后世的爱戴。

Korean people, during a long and successful history of five thousand years, have created independent and unique national cultures with their innate creativity, outstanding capacity, and great tenacity covered with blood and sweat, and have developed them without cessation. Of them, the invention of Hangeul, the Korean alphabet, could be said to be the first and foremost achievement in the history of Korean culture. In fact, many linguists around the world have appreciated Hangeul with its originality and scientific nature, as an excellent writing system. Moreover, it has been great source of national pride that the Korean people are the only ones in the world,who celebrate the day when their national alphabet was invented. This year we, the Korean people, have just celebrated the five hundred and fiftieth birthday of Hangeul. That is, five hundred and fifty years have passed since King Sejong invented and widely spread Hangeul. The purposes for which King Sejong invented Hangeul were clearly expressed in the preface by the King himself in Hunmin-Jeongeum(A Book on Explanations and Illustrations of the Korean Alphabet). They can be summarized in the following three points. Firstly, it was with the thought of national identity that the new writing system suitable for the structure of Korean syntax and phonology was made. Secondly, it was with the thought of democratism and pragmatism that every one of his subjects should be given the benefit of using the new writing system. Yet, another reason was for the smooth interchange with neighboring nations by facilitating the learning of foreign languages, including Chinese, with the invention of Hangeul. In this context we have come to know that the creator of Hangeul at that time, directed deep attention towards the Segyehwa (globalization) of national cultures. Now, people all over the world admire the spirit of invention behind Hangeul. Since 1990, the UNESCO, an agency of the United Nations, has been awarding ‘King Sejong Prize’ named after King Sejong, to an organization or institution in every country which contributes to the crusade against illiteracy every year. The fact that the ratio of illiteracy in Korea is extremely low compared to other countries in the world can be attributed to the invention of Hangeul by King Sejong, who made all his subjects learn and use it easily. On occasion of the five hundred and fiftieth birthday of Hangeul, we have collected several articles into a booklet entitled ‘Hangeul in the 21st century’ for the purpose of looking back upon the true meaning of the invention of Hangeul. I would like to express my deep thanks to the authors who sent these valuable papers, and to Professor Kim Jeong-Woo and Professor Robert Leitch who translated their papers into English. I sincerely hope that small booklet will be helpful to domestic and foreign scholars who study the Korean language,and will contribute even partially to the globalization of our spoken and written language.

Memory of the World Register - Nomination Form Republic of Korea - Hunmin Chongum (National Treasure No. 70) Abstract The manuscript published in the ninth lunar month of 1446, contains the promulgation by Sejong the Great, the fourth king of the Choson Dynasty (reigned 1418-1450), of the Korean alphabet of the same name, now called han gal, the development of which he completed in 1443. It also contains the Haerye, or Commentaries, later explanations and examples by scholars of the Hall of Worthies, including Chong In-J'is So, or Postface. This edition is therefore often referred to as the Haerye Edition of Hunmin Chongun. It is kept by the Kansong Art Museum. Identity and Location Name of the Documentary Heritage: Hunmin Chongum (National Treasure No. 70) Country: Republic of Korea State, Province or Region: Seoul Address: 97-1, Songbuk-dong, Songbuk-ku, Seoul, 136-020 Name of Institution: Kansong Art Museum Legal Information Owner: Chun, Sung-Woo; 97-1, Songbuk-dong, Songbuk-ku, Seoul, 136-020; Tel.: 02-762-0442 Custodian: Chun, Sung-Woo; Contact details: Refer to Owner Legal Status: Category of ownership: Private property Details of legal and administrative provisions for the preservation of the documentary heritage: Cultural Properties Preservation Act - Documentary cultural properties which are invaluable historically and artistically are protected by the cultural properties preservation laws in Korea. Hunmin Chongum is designated National Treasure No. 70. Relevant particulars of the cultural properties preservation laws are as follows: i) Purpose ... Description: Hunmin Chongum, "Proper Sounds to Instruct the People," published in the ninth lunar month of 1446, contains the promulgation by Sejong the Great, the fourth king of the Choson Dynasty (reigned 1418-1450), of the Korean alphabet of the same name, now called han-gul, the development of which he had completed in 1443. It also contains the Haerye, or Commentaries, later explanations and examples by scholars of the Hall of Worthies, including Chong In-Ji's So, or Postface. This edition is therefore often referred to as the Haerye Edition of Hunmin Chongum. Korea had imported Chinese characters from China and achieved literacy from about the beginning of the Christian era, and by the middle of the 15th century had amassed a plethora of scholarly and literary works composed in classical written Chinese. However, Chinese characters were for writing the Chinese language; they were not suitable for writing Korean, a language quite different from Chinese. A system of using Chinese characters to represent the Korean language, called yidu, was in use for the everyday paperwork of the bureaucracy and the citizenry, but this by no means amounted to a perfect representation of the Korean language. Therefore King Sejong, after studying Chinese prosody and the orthographies of neighbouring countries and analyzing the current state of Korean phonology, invented the 28 alphabetic letters of the Hunmin Chongum, which both allowed a perfect representation of Korean and were easy to learn. Sejong had scholars of the Chiphyonjon, or Hall of Worthies, such as Chong In Ji, Ch'oe Hang, Pak P'aeng-Nyon, Shin Suk-Chu, Song Sam-Mun, Kang Hui-An, Yi Kae, and Yi Sol-Lo, write commentaries on and examples of the new orthography in Chinese, and compile them with his own simple explanation of the new script in a book with the same name as the alphabet itself and his own explanation of it, Hunmin Chongum. The first section of the complete Hunmin Chongum is the main text, written by King Sejong himself. The first part of the main text is Sejong's preface, in which he elucidates his purpose in inventing the new alphabet. He points out that, because Korean is a different language than Chinese, there are things in it that are hard to represent in Chinese characters, so that the common people cannot express their thoughts in writing. Finding this unacceptable, he has newly invented 28 letters which they can easily learn and comfortably use every day. The second part of the main text lists the 28 letters -17 consonants and 11 vowels- of the new script with brief descriptions and examples. It then explains that the consonants can also be used in final position, that more than one consonant can combine in initial or final position, written left to right, and more than one vowel can combine in medial position, fitting together according to shape, and that tones are marked with dots to the left of the syllable. To sum up, from Sejong's main text, we can learn the purpose of the new alphabet and how the new letters work. The Hunmin Chongum is famous as a phonemic writing system, one in which the letters of syllables happen to be written together in blocks approximately the same size and shape as the monosyllabic Chinese characters they often appear with in the so-called mixed script. (Modern hang-gul is not phonemic but morphophonemic, so that written syllables no longer exactly correspond with spoken syllables.) The second section of Hunmin Chongum, written by the scholars of the Hall of Worthies, is composed of Haerye, the Commentaries, and Chong In-Ji's So, or Postface. The Commentaries are analyses of and notes on Sejong's main text. There are six parts: "An Explanation of the Design of the Letters," "An Explanation of the Initials," "An Explanation of the Medials," "An Explanation of the Finals," "An Explanation of the Combining of the Letters," and "Examples of the Use of the Letters." ... History: This book was published in the ninth lunar month of 1446. It contains the introduction by King Sejong the Great (reigned 1418-1450) of the Korean alphabet, Hunmin Chongum (or hang-gul at present), plus Haerye or the Commentaries, including Chong In-Ji's Postface. King Sejong, feeling the need for the creation of a new writing system, led the top scholars of the Hall of Worthies in decades of intensive research towards that goal. After the completion of the development project of the new writing system in 1443 and a period of testing, Hunmin Chongum was finally proclaimed in 1446. King Sejong's main text of Hunmin Chongum and Chong In-Ji's Postface to Hunmin Chongum were known from other books. The main text appeared translated into Korean in the foreword to Worin Sokpo, which was published in 1459. The main text and Chong In-Ji's Postface appeared in Annals of King Sejong. But until this Commentaries Edition of Hunmin Chongum was discovered in 1940, the Commentaries had not been known for a long time. Hunmin Chongum Haerye, or the Commentaries, became well known with the discovery of this book, along with the principles behind the creation of the letters and the rule that only eight letters could be used as finals. It answered many of the questions linguists around the world had asked about this alphabet. This book was thought to have disappeared when King Yonsan-gun, in 1504, ordered the elimination of all books written in the Korean alphabet. But in 1940 a copy was found in the Andong area, North Kyonsang Province. This is still the one and only extant copy of the Commentaries Edition of Hunmin Chongum . When this book was found in 1940, the first two leaves were already corrupt. The contents were well known from Worin Sokpo and Annals of King Sejong, so the complete book could be reconstructed, but very regrettably during the reconstruction misprints occurred in this copy. However, these misprints could be corrected from Worin Sokpo and such sources. This book, which had been in the collection of late Chon Hyong-P'il, is in the collection of Kansong Art Museum at present. On 22 May 1958, the Korean government designated this book National Treasure No. 70 for the proper management and preservation of this precious inheritance. Bibliography: Title Author ... . Consultation Owner: & Custodian: CHUN, SUNG-WOO,

| Korea's official script is Hangeul, the unique Korean alphabet. This name, a compound of han, meaning "the Korean people" or "great" and geul, meaning "letters," was given to it early in the 20th century. The creator of hangeul was King Sejong the Great (reigned 1418-1450), the fourth king of the Joseon Dynasty. Sejong was concerned that Chinese characters, until that time used to write Korean, were a writing system for representing Chinese, a language completely different in structure from Korean, and were therefore hard for Koreans to learn and use. | | | --- | --- | | In the twelfth lunar month of 1443, he completed development of a writing system suitable for representing Korean, which he called Hunminjeongeum, "Proper sounds to instruct the people." Hunminjeongeum was an alphabet formed of 28 letters. Today's hangeul uses only 24 of these, having dropped four. This orthography not only represents the Korean language perfectly but also is easy to learn and use. It is recognized as being both original and scientific. | | --- | | Sejong himself wrote a preface clarifying the origin and the purpose of the new alphabet and giving brief examples and explanations of each of its letters, while he had the scholars of the Jiphyeonjeon, or "Hall of Worthies," give detailed explanations and examples of them. The resulting work was published in the ninth lunar month of 1446, and the new alphabet was widely made known to the public. The work's title was the same as the then name of the alphabet, Hunminjeongeum. The recently discovered complete edition is known as the Haerye Edition of Hunminjeongeum (Haerye referring to the explanations and examples of the Jiphyeonjeon scholars, which were missing in the previously known editions). | | ... | The extract publication date is not clear. But in the Annals of King Sejong, the official record of his reign, it is noted that the book was published in the ninth month of 1446, and the scholar Jeong In-ji's so, or “postface," which appears in the volume, was written in the first ten days of the ninth lunar month of 1446, so we can judge that it was published by the tenth day of that month. This date, converted to the solar date October 9, has been designated Hangeul Day, a national holiday. | | ... | As mentioned above, this book consists of two parts. Part 1 is the main text written by Sejong himself. The contents of the main text are the seomun or preface, which explains his purpose in creating the new letters, and the longer section which presents and explains the 28 new letters, 17 initial (consonant) sounds and 11 medial (vowel) sounds, and the way they are combined to represent Korean syllables. Part 2, written by the scholars of the Hall of Worthies on Sejong's order, consists of commentaries on the main text. | | ... | Many people have tried to make letters to try to represent their languages. This has been one of the important themes of world history. The world's major orthographies gradually took form and came into use over long periods of time. Moreover, most of them were changed through use over time. The development of Korea's hangeul is a unique example of a few people, in a short time, without any direct influence from any already existing orthography, inventing a new writing system for a language which enabled mass literacy, one which eventually would become its official script. Moreover, the publishing of a book on a new alphabet is not only something that had never happened before Hunminjeongeum was published in 1446 but something that has not happened since. | | | --- | --- ... The publication of ... a unique book ... one copy of this work ... just as it was ... minjeongeum is not only a Korean ... treasure but an achievement which must be preserved forever as a legacy ... world culture.

Hunminjeongeum (The Proper Sounds for the Instruction of the People) ... | Heritage Search Detail | Classification | National Treasure | | --- | --- | --- | | Name of Cultural Properties | Hunminjeongeum (The Proper Sounds for the Instruction of the People) | | Quantity | 1 book | | Designated Date | 1962.12.20 | | Age | The 28th year of the reign of King Sejong of Joseon (1446) | | Address | Kansong Art Museum, 102-11, Seongbuk-ro, Seongbuk-gu, Seoul | Hunminjeongeum is a commentary written in Chinese characters and published in 1446 by a group of renowned Jiphyeonjeon (Academy of Scholarly Worthies) scholars according to a royal edict issued by King Sejong (r. 1418-1450). The commentary has the same title as the original, Hunminjeongeum, given to the newly invented Korean writing system but different names, including The Explanatory Edition of the Correct Sounds for the Instruction of the People (Hunminjeongeum Haeryebon) and The Original Edition of the Correct Sounds for the Instruction of the People (Hunminjeongeum Wonbon). It is a single-volume xylographic book consisting of 33 chapters. In the book, the chapters are grouped into 3 parts wherein the first part contains the main text of Hunminjeongeum in 4 chapters printed on 7 pages, each containing 7 lines of text with 11 characters per line; the second part contains a commentary in 26 chapters on 51 pages, each containing 8 lines of text with 13 characters per line. The third part contains a 3-chapter introduction of the writing system written by Jeong In-ji (1396-1478) and which ends with a date, suggesting that the Korean writing system was promulgated in 1446. According to The Veritable Records of King Sejong (Sejong Sillok), the Korean alphabet called Hunminjeongeum was invented in 1443 by King Sejong himself and proclaimed in 1446. The commentary and Jeong In-ji’s introduction as contained in this book provide information on the scholar-statesman’s active participation in the creation of the alphabet and the basic principles used for it.

In celebration of the 578th anniversary of the creation of Hangeul, the Korean alphabet, the Ministry of Culture, Sports and Tourism (Minister YU In Chon, MCST) hosted 2024 Hangeul Week under the theme “Are You OK?! Hangeul” from October 4 to 10 at multiple locations, including Gwanghwamun Square (October 4–5) and the National Hangeul Museum (October 4–10). This year’s event reflected on the current state of Hangeul, often neglected due to indiscriminate and excessive use of foreign languages, abbreviations, and neologisms, and aim to rediscover the meaning of Hangeul, while featuring various cultural events that allow participants to experience the value of this precious cultural asset. ... This year’s event include the first-ever National Spelling Contest, to be held October 4 at 3:00PM in Gyeongbokgung Palace’s Heungbokjeon Hall, jointly hosted by the National Institute of Korean Language and Korean Broadcasting System (KBS) and managed by the Federation of Korean Language and Culture Centers. Planned in celebration of the 578th anniversary of Hangeul Day, the contest aimed to raise public interest in the spoken and written Korean language and encourage its accurate and refined usage. A total of 130 participants, including 120 regional qualifiers and 10 non-Korean contestants, competed in the event, with awards presented for the final winners[1]: one grand prize (Ettuem), two runner-ups (Beogeum), three merit awards (Boram), and two special prizes. ... The opening ceremony of 2024 Hangeul Week took place on October 4 at 5:30PM in Gwanghwamun Square, with attendance by stakeholders from various organizations related to Hangeul and the Korean language. Leading up to the main ceremony, professional vocalists and local choirs showcased performances that use only native Korean words. The main ceremony featured congratulatory messages from graduates and students of King Sejong Institutes worldwide as well as famous content creators, along with performances and videos highlighting the deteriorating reality of the Korean language since its creation and the efforts to preserve and nurture it. The 43rd Sejong Cultural Awards[2] also was held during the opening ceremony. Meanwhile, MCST planned to establish the Birthdate of King Sejong (May 15) as an official commemorative day, on which the King Sejong Awards will be held starting next year. ... This year’s Hangeul Week is participated from the National Institute of Korean Language, Jindo National Gugak Center, the National Museum of World Writing Systems, and Korean Language and Culture Centers nationwide, along with local governments. The National Institute of Korean Language held an audiobook listening event at Gwanghwamun Square and the National Hangeul Museum, where visitors can listen to the audiobook version of author Lee Hyo Seok’s Burning the Fallen Leaves, created by 365 voices. The Jindo National Gugak Center held an event to honor King Sejong’s spirit of compassion with the theme “The World Dreamed of by King Sejong” on October 9. The National Museum of World Writing Systems ran traditional performances and Hangeul experience programs on Hangeul Day (October 9) in the Green Square of Songdo Central Park, Incheon. A performance that combines cutting-edge AI science with modern dance inspired by text characters was also showcased in the first-floor lobby of the museum. A total of 21 Korean Language and Culture Centers, including the centers of Gangwon University and Hanyang University organize various Hangeul cultural events for children, foreigners, and local residents, including the Hangeul Day Big Festival, Beautiful Korean Language Store, and a signage photo contest for public institution buildings. Seoul Metropolitan Government opened a program on Hangeul Day (October 9) at Nori Madang in Gwanghwamun Square that explores the principles behind the creation of Hangeul with experts. Sejong Special Self-Governing City hosted a Special Exhibition on Hangeul Culture for the month of October at the National Children’s Museum and the Park Yeon Cultural Center, where visitors can experience the Hangeul culture city Sejong in advance. On October 8, the first Sejong Hangeul Competition was held for foreign university students at the Government Complex Sejong Convention Center, while a Hangeul Day celebration ceremony was held at Sejong Lake Park in conjunction with the Sejong Festival on October 9. ... Hangeul Week also plans hosting cultural events that can be enjoyed locally as well as globally. From October 6 to 12, King Sejong Institute Foundation will invite top learners[4] from around the world to experience Korean culture and Hangeul and visit Korean historical sites. On October 7, the final round of the Korean language speaking and writing competition was held, with the final winners (2 individuals) receiving the MCST Minister Award with scholarships. The Federation of Korean Language and Culture Centers invites the recipients of the Hangeul Development Contribution Awards and the UNESCO King Sejong Literacy Prize winners for a cultural tour around Seoul, where the participants visited the Hanok Village, Gyeongbokgung Palace, and Dongdaemun Design Plaza (DDP) and took part in the Hangeul Week cultural events and Hangeul Day Celebration Event. Korean Language and Culture Centers and King Sejong Institutes overseas are also organizing various cultural events in celebration of Hangeul Week and Hangeul Day. In total 22 Korean Language and Cultural Centers, including the center in South Africa, holds events and exhibitions such as “Korean Language Golden Bell” and “Hangeul Naming Booth,” while King Sejong Institutes in Mongolia, Botswana, and Vietnam hold K-pop events, calligraphy programs, and Korean cooking events.

The Ministry of Culture, Sports and Tourism is hosting a series of nationwide events throughout October to mark the 579th anniversary of the proclamation of Hangeul — the Korean writing system — extending the celebrations well beyond Thursday’s national holiday. On Thursday morning, Culture Minister Chae Hwi-young and members of the Korean Language Society laid flowers before the statue of King Sejong at Gwanghwamun Square in Seoul to honor the creator of Hangeul, followed by a ceremony recognizing contributions to the Korean language. The main event, Hangeul Hanmadang, will take place Saturday evening in Gwanghwamun Square, featuring performances by pansori singer Yoo Taepyeongyang, dance performances and designer Lee Sang-bong’s Hangeul-inspired fashion show, along with awards recognizing exemplary use of clear and accessible Korean in public documents. ... From Saturday to Tuesday, the 2025 Hangeul Cultural Industry Exhibition titled “The More You Know, The More _______ Hangeul” will be held at Gwanghwamun Square, exploring the creative and commercial potential of Hangeul-based products. The exhibition will feature around 70 government-supported Hangeul cultural products developed since 2015, including installations by artist Kang Ik-joong and fashion pieces by designer Lee Sang-bong. ... On Oct. 18, the Hangeul Dictation Contest will take place at Gyeongbokgung, bringing together 150 participants, including 120 Koreans and 30 outstanding foreign learners from Sejong Institutes worldwide, to test their Korean proficiency. ... A series of academic conferences will explore Hangeul’s evolving role in modern society. On Monday, the Eosol Society will discuss the future of Hangeul and the Korean language in the digital age, followed by a forum on Tuesday that will examine how writing connects generations in an aging society. In addition, 22 Korean language and culture centers under the Ministry of Culture, Sports and Tourism, along with local governments in Seoul and Sejong, will host Hangeul exhibitions, performances and hands-on activities designed to help residents experience and share the growing cultural and creative value of Hangeul. ... The Seoul Metropolitan Government is holding a citizen participation event at Gwanghwamun Square under the theme “Hangeul, Connecting the World,” offering spelling and proverb quizzes, Hangeul calligraphy and bracelet-making sessions. The Sejong National Institute of Korean Language will host the AI Film Festival Jeongeum 1446 and a nationwide children’s reading competition, while the civic group Hangeul Culture Solidarity will hold a citizen program titled "Hunmin’s Forest at Olympic Park." In Sejong City, the Sejong Hangeul Festival runs from Thursday to Saturday around Sejong Lake Park under the theme “Sejong, Embracing Hangeul.” Programs include an air show by the Air Force’s Black Eagles, a Hangeul song contest and an interactive historical play reenacting the Joseon-era (1392-1910) civil service examination. On Saturday, the festival will close with a Korean-language speech contest for foreign residents and a fireworks display. Hangeul — originally named "Hunminjeongeum," meaning “the correct sounds for teaching the people” — was created in 1443 by King Sejong and his scholars to help commoners who could not read Chinese characters. Hangeul Day was first observed in 1926 as Gagya Day by the Korean Language Society. It was renamed Hangeul Day in 1928 and fixed to Oct. 9 after Korea’s liberation in 1945, marking the date Hunminjeongeum was first proclaimed.

‘Hunminjeongeum Haerye’ and ‘Hunminjeongeum Eonhae’ reprinted on traditional mulberry paper ahead of Hangeul Day ... When King Sejong the Great promulgated Hangeul in 1446 -- after creating the writing system in 1443 -- the announcement was accompanied by the publication of “Hunminjeongeum Haerye,” a book written by the king and eight scholars involved in the creation of Hangeul that explains the creation of Hangeul and the principles behind its letters and the writing system. ... The reprints were unveiled by Gaonnuri Publisher during a press conference in Jung-gu, Seoul, on Thursday, four days ahead of Hangeul Day on Oct. 9. This year marks the 580th anniversary of the creation of Hangeul and the 577th anniversary of the distribution of “Haerye.” ... minjeongeum Ha ... e” is National Treasure No. 70 ... has been included in ... UNESCO Memory of the World Register since ... 1997 ... of 65 ... “‘Haerye’ was originally written in Hanja to persuade the nobility of the time, making it inaccessible to the general people,” explained Kim Seol-ong, president of the Sejong Center for Korean Language and Culture, who spearheaded the reprinting project in 2015 and 2023. ... commentary on “ ... erye” and “ ... contents of “

South Korea calls for ‘language purification’ campaign on Korean alphabet day South China Morning Post

The Korean Hangul script is a 'syllabic' script. The syllables are formed by combining sequences of elemental, alphabetic consonants and vowels. The process of composing syllables is additive in nature and follows a set of predefined rules. The glyph elements of each composed syllable are shaped and positioned into a square display cell, often referred to as a 'syllable block', or 'syllable glyph'. The Unicode Standard provides encodings for pre-composed Hangul syllables known as 'Modern Hangul', as well as encodings for individual Hangul alphabetic elements, called 'Jamo' and known as 'Old Hangul'. 'Modern Hangul' has 11,172 pre-composed characters in the Unicode range U+AC00 through U+D7AF. 'Old Hangul' syllables can be composed from the individual Hangul Jamos encoded in the Unicode Hangul Jamo block (U+1100 through U+11FF). More specifically, only certain sequences of these Jamo characters can combine to form Old Hangul syllables. These sequences are defined in Appendix B. Only sequences defined in Appendix B will result in formation of Old Hangul syllables. Sequences of character codes from the Hangul Jamo Block that do not match any sequence pattern in Appendix B, will be considered as a sequence of individual non-Old Hangul characters. ... Jamo - Individual Hangul alphabetic elements or atomic unit in a syllable. Consonants and vowels are both known as Jamos. ... Vowel (Vowel Jamo) "Jungseong" - A phoneme; an independent unit in a syllable. It does not combine with any consonant to result in the transformation of any consonant-vowel combination. ... (V) ... T) Jamos. In each ... sequences, the shaping engine ... length of characters ... Jamos. ... according to the list ... It is important to note that if any of the Jamo sequences being analyzed is capable of forming a Modern Hangul Syllable, the shaping engine does not apply OpenType features to shape them. Composition of Modern Hangul syllables is expected to be done using the pre-composed section (U+AC00 – U+D7AF), as described in the Unicode Standard. ... The features listed below have been defined to create the basic forms for the languages that are supported on Korean Hangul systems. Regardless of the model an application chooses for supporting layout of complex scripts, Uniscribe requires a fixed order for executing features within a run of text to consistently obtain the proper basic form. This is achieved by calling features one-by-one in the standard order listed below. ... This feature permits the composition of Old Hangul Jamos corresponding to sequences described in Appendix B. To compose Old Hangul syllables, these Jamo glyphs are then substituted to the appropriate form using the 'ljmo', 'vjmo' and 'tjmo' features. The 'ccmp' feature should be implemented before any other feature, so that these actions are given topmost priority. It is applicable to each of: Leading, Vowel and Trailing Jamo sequences. ... The 'ljmo' feature is used to substitute the correct shape of a leading consonant Jamo for a Hangul syllable. The shaping of leading consonant Jamos is context based and depends on whether the leading Jamo is followed by a vowel Jamo alone or a sequence of vowel and trailing Jamo. ... The 'vjmo' feature is used to substitute the correct shape of a vowel Jamo for a Hangul syllable. The shaping of vowel Jamos is context based and depends on whether it is preceded by a leading Jamo alone, or a leading Jamo and followed by a trailing Jamo. For example: the Hangul vowel Jung ... ong AE (U1162) is replaced by the correct form ... The 'tjmo' feature is used to substitute the correct shape of a trailing consonant Jamo for a Hangul syllable. The shaping of trailing ... Jamos is context based and depends on ... the trailing Jamo is preceded by a leading Jamo filler and vowel Jamo or by a leading Jamo and vowel Jamo.

There are four main types of encoded Korean letters: 1. Jamo (conjoining) 2. Hangul Syllables 3. compatibility Jamo 4. half-width Jamo ... There are 11,172 Hangul Syllables that are directly encoded as a compact representation of certain sequences of Jamo. They can be fundamentally thought of as composite characters. In practice, they are the main characters in actual use, but from an implementation point of view, they are simply precomposed sequences, and are treated as such during normalization and other processing. ... Conjoining Jamo are divided into three classes: L, V, T (Leading consonant, Vowel, Trailing consonant). A Hangul Syllable consists of or sequences. As long as text is represented as sequences, such as < L, V, L, V, T, L, V, T, L, V >, there is no issue. If isolated jamo, such as only L, V, or T, are to be represented, there are two ways to do it: 1. Simply use L, V, or T on their own, but L must not be followed by V, V must not be preceded by L, and T must not be preceded by V. 2. Use a sequence with explicit filler Jamo, Lf (U+115F HANGUL CHOSEONG FILLER) and/or Vf (U+1160 HANGUL JUNGSEONG FILLER), to form a complete syllable:<L, Vf>, <Lf, V>, or <Lf, Vf, T>. Jamo sequences are unlike combining sequences: the L are not “ base characters” and the V or T are not “ combining marks”. For that reason the Jamo are called conjoining. ... Text that is normalized as NFD will contain only Jamo. Typically, general text that is unnormalized text or normalized to NFC would mostly consist of Hangul syllables. However, Jamo could occur in certain circumstances: 1. isolated Jamo 2. pre-1933 orthography Korean text 3. incomplete Hangul Syllables (for example, syllables without an L as used in dictionaries and grammar books) 4. Jamo used for a more faithful phonetic representation of some Korean dialects In the fourth case, there are two possibilities. If the L or V are non-modern Jamo, then the entire syllable would consist of Jamo. If both L and V are modern Jamo, but the T is non-modern, then the syllable would be represented by a sequence of two characters: a single code point for, followed by a T: <LV, T> ... The easiest approach is to first convert the text using NFC, then convert any remaining conjoining Jamo to compatibility Jamo. For example, U+1100 ᄀ HANGUL CHOSEONG KIYEOK converts to U+3131 ㄱ HANGUL LETTER KIYEOK. Jamo, Lf and Vf, can simply be removed.

Hunminjeongeum consists of twenty eight letters, which include five basic consonants and three basic vowels. Among these letters, the five basic consonants are based on the shapes of their vocal organs. The three basic vowels reflect the idea of sky, earth and human. A consonant is often called “datsori.” “Datsori” signifies the sound made when breath that comes out from the throat touches a vocal organ. There are five spots where datsori is produced: molars, tongue, lips, teeth and throat. The five basic consonants that reflect the shapes of those spots or organs include “ㄱ,” “ㄴ,” “ㅁ,” “ㅅ” and “ㅇ.” The consonant “ㄱ,” which is a velar sound, reflects the shape of the tongue covering the throat. The consonant “ㄴ,” which belongs to the lingual sound, is based on the shape when the tongue touches the upper gums. The consonant “ㅁ,” which is a labial sound, reflects the shape of the mouth or lips. Finally, the consonant “ㅇ,” which makes a guttural sound, is based on the shape of the throat. Like this, datsori (consonant) is the fruit of scientific research, produced after the careful examination and analysis of vocal organs and their movements. A vowel is often called “holsori.” “Holsori” signifies the sound made when breath comes out from the throat but does not touch vocal organs. Those vowels embody and visualize the idea of sky, earth and human. Sky implies a positive force like sun. Earth indicates a negative force like moon. Human represents a neutral force. ... Among the twenty eight letters that constitute Hunminjeongeum, there are only five basic consonants (ㄱ, ㄴ, ㅁ, ㅅ and ㅇ) and three basic vowels (ㆍ, ㅡ, and ㅣ). However, these basic consonants and vowels can be expanded by adding strokes or combining together in order to make a variety of characters. The basic consonants are soft sounds. When those consonants are pronounced with more breath, they make harsher sounds. To indicate the harsher sounds, strokes are added to the basic consonants. In this way, nine consonants are created additionally. Besides, there are three more consonants (ㆁ,ㄹ and △), summing up to seventeen consonants in total. The basic vowels can be combined together to produce a variety of vowels. The basic vowels (ㆍ, ㅡ, and ㅣ) are combined once and generate four new vowels— · ㅡ, ㅣ·,· ㅡ and ㆎ (ㅗ, ㅏ, ㅜ and ㅓ). “ㅗ” and “ㅜ” are created by adding “ㆍ” to the top and bottom of “ㅡ”. When “ㆍ” is added to the outside and inside of “ㅣ,” “ㅣ·(ㅏ)” and “ㆎ(ㅓ)” are constructed. Other vowels— ㅛ, ㅑ, ㅠ and ㅕ—are formed when “ㆍ” is added to basic vowels twice. According to this natural law, the positive vowels are created when the dot “ㆍ” is attached to the top or right side of a basic vowel. On the other hand, the negative vowels are formed when the dot “ㆍ” is attached to the bottom or left side of a basic vowel. Since Hangeul consists of the basic characters with the minimum number of letters and can be expanded following regular patterns or rules, it is easy to learn and efficient to use. Furthermore, this scientific aspect of Hangeul is highlighted through the fact that it is closely connected with the natural philosophy: particularly for vowels, they embody the idea of three harmonies, which emphasizes balance between sky (positive force or yang), earth (negative force or yin) and human (neutral force). This idea represents the cosmology and linguistic philosophy behind the creation of Hangeul. ... “Hunminjeongeum” is the original name of Hangeul. There is the first record about Hunminjeongeum in the book Sejong Shilok, which was documented in the twelfth month of the lunar calendar in 1443: “This month the King created the twenty eight letters of the written language of Joseon…This is called “Hunminjeongeum.”” “Hunminjeongeum” also refers to the name of a book, which was published in 1446 to record the circumstance of the period when Hunminjeongeum was created and to document its invention principle, academic backgrounds, etc. The book is commonly called (more specifically). The book consists of the preface written by King Sejong the Great to announce the purpose of inventing the written language of Joseon; the second part “yeui” to explain the sound of each character and the operation principle; the third part “haerye” to show the principle of inventing the consonants and vowels and the idea of the initial, middle and final sound of a syllable; and finally the postface by Jeong In-ji to confirm the creator and the excellence of the written language. Because of this book Hunminjeongeum, today we can recognize the purpose and principle of creating Hangeul and specifically understand its pronunciation rules and usage., the national treasure no. 70 of Korea, was listed in UNESCO’s Memory of the World Register in October1997 for its highly acclaimed linguistic, cultural and ideological values. Now, is preserved in Gansong Museum. Some portions of are translated and written in Korean. The translation version of the book is called. The book is well-known for its very famous starting line— “나랏말ᄊᆞ미 中國에 달아……” —which can be translated as “because the speech of this country is different from that of China…”

| Korea's official script is Hangeul, the unique Korean alphabet. This name, a compound of han, meaning "the Korean people" or "great" and geul, meaning "letters," was given to it early in the 20th century. The creator of hangeul was King Sejong the Great (reigned 1418-1450), the fourth king of the Joseon Dynasty. Sejong was concerned that Chinese characters, until that time used to write Korean, were a writing system for representing Chinese, a language completely different in structure from Korean, and were therefore hard for Koreans to learn and use. | | | --- | --- | | In the twelfth lunar month of 1443, he completed development of a writing system suitable for representing Korean, which he called Hunminjeongeum, "Proper sounds to instruct the people." Hunminjeongeum was an alphabet formed of 28 letters. Today's hangeul uses only 24 of these, having dropped four. This orthography not only represents the Korean language perfectly but also is easy to learn and use. It is recognized as being both original and scientific. | | --- | ... | As mentioned above, this book consists of two parts. Part 1 is the main text written by Sejong himself. The contents of the main text are the seomun or preface, which explains his purpose in creating the new letters, and the longer section which presents and explains the 28 new letters, 17 initial (consonant) sounds and 11 medial (vowel) sounds, and the way they are combined to represent Korean syllables. Part 2, written by the scholars of the Hall of Worthies on Sejong's order, consists of commentaries on the main text. | | | There are 6 chapters : "An Explanation of the Design of the Letters," which expounds the principles by which the new letters were made, "An Explanation of the Initials," which presents the 17 consonants which appear in syllable-initial position, "An Explanation of the Medials," which presents the 11 vowels, "An Explanation of the Finals," which presents the consonants appearing in syllable-final position," "An Explanation of the Combining the Letters," which demonstrates how the initials, medials, and finals are assembled to form a syllable, and "Examples of the Uses of the Letters," which shows Korean words written in the new letters. At the end of the volume is Jeong In-ji's postface, which concisely describes the greatness of the creation of the new letters and the circumstances of the writing of the book. The main text is four leaves and the commentaries 29 leaves, making only 33 leaves in all, but the theory is systematic and the description scientific. In particular the explanation of the principles by which the letters were made and of no use of the letters is highly regarded today by the linguists of the world. | ... | Many people have tried to make letters to try to represent their languages. This has been one of the important themes of world history. The world's major orthographies gradually took form and came into use over long periods of time. Moreover, most of them were changed through use over time. The development of Korea's hangeul is a unique example of a few people, in a short time, without any direct influence from any already existing orthography, inventing a new writing system for a language which enabled mass literacy, one which eventually would become its official script. Moreover, the publishing of a book on a new alphabet is not only something that had never happened before Hunminjeongeum was published in 1446 but something that has not happened since. | |

Among the documentary inscriptions on UNESCO’s Memory of the World International Register, few items occupy as paradoxical a position as the Jikji. It is, on the one hand, a celebrated Korean cultural icon—Korean National Treasure No. 1132—since 1992, the centerpiece of an urban “Jikji Cultural Zone” in Cheongju, and the namesake of an internationally awarded UNESCO prize. On the other, the single surviving copy of the metal-type edition has resided continuously in Paris for over a century, currently catalogued as Coréen 109 in the Manuscripts Department of the Bibliothèque nationale de France (hereafter BnF) (2023). This bifurcation—between the geography of production and the geography of custody, and between national heritage claims and cosmopolitan custodial claims—has driven the development of an unusually elaborate digital, scholarly, and diplomatic infrastructure around a single late-fourteenth-century Buddhist anthology. This article reviews the infrastructure in three connected registers. The following chapter surveys the Jikji’s identity as a Buddhist textual artifact and assesses how the Cheongju Early Printing Museum’s (CEPM) Jikji Global platform translates the material book into a multilingual digital experience. The second chapter reconstructs the provenance from late Joseon Korea to BnF accession and analyzes the BnF’s twenty-first-century framing of Jikji as a “treasure of the world of printing.” The third chapter examines the UNESCO inscription of 2001, the UNESCO/Jikji Memory of the World Prize, and the establishment in 2023 of the UNESCO International Centre for Documentary Heritage (ICDH) in Cheongju. The last chapter evaluates the formal Korea-France collaborations that have allowed the CEPM to build a value-added platform on top of BnF-produced digital surrogates. The article closes with reflections on the model this case offers for international heritage cooperation and on the limits ... in two volumes at Heungdeoksa Temple outside Cheongju Magistracy using cast metal movable type. A woodblock edition followed in 1378 at Chwiamsa Temple, and it is from the surviving woodblock copies—held by the National Library of Korea, the Academy of Korean Studies, and several monasteries—that the missing first volume of the metal-type edition is reconstructed. The decisive evidentiary inscription is the colophon on the final leaf: “Cast in metal type and printed at Heungdeoksa Temple outside Cheongju Magistracy in the seventh month of the jeongsa year, the seventh year of Xuanguang (i.e., 1377)” 宣光七年丁巳七月日 淸州牧外興德寺鑄字印施. It is this single line that establishes Jikji as preceding Gutenberg’s 42-line Bible (c. 1455) by 78 years and that justifies its status as the world’s oldest extant document printed from movable metal type. 3 What survives at the BnF is the second (lower) volume only. The BnF’s manuscript catalogue describes the object as comprising 39 folios—but with the first folio (containing Chapter 38, Book 1) torn off, leaving 38 effective sheets of content, double-folded, 24.6 x 17.0 cm, on thin white Goryeo hanji, sewn with red thread at five points, and bound in a later (eighteenth-century) cream colored paper cover bearing the brush-written title “直指 下” (Jikji, vol. 2). ... The cover also carries a French note in the hand of Maurice Courant identifying it as “le plus ancien livre coréen imprimé en caractères…fondus 1377.” Visible irregularities—misaligned columns, inverted characters such as “日”—blurred ink, and the non-recurrence of identical sorts on the same leaf are not flaws but rather the diagnostic features through which Park Byeongseon and subsequent scholars confirmed that the book was printed from cast individual sorts rather than from a woodblock. ... The CEPM was opened in March 1992, immediately adjacent to the excavated Heungdeoksa Temple Site in Uncheon-dong, which had been identified in ... The BnF’s current institutional discourse around Jikji, articulated on its dedicated page “Jikji, a treasure of the world of printing,” embraces three rhetorical moves. First, it affirms factual primacy and Korean provenance; Jikji is described, in language directly echoing UNESCO, as “the oldest known book in the world printed with movable metal type,” produced “in 1377 in what is now the city of Cheongju (Republic of Korea), 78 years before the Gutenberg Bible.” Second, it situates Jikji as belonging simultaneously to Korean national heritage (Treasure No. 1132) and to a common heritage of humanity, a position it consolidated symbolically by exhibiting Jikji alongside the Gutenberg Bible and the Bois Protat for the first time in the 2023 exhibition Imprimer! L’Europe de Gutenberg. Third, it asserts a conservation rationale for retention; the book is “treated accordingly” as one of the most precious items in the collections, with handling minimized and consultation requiring the reasoned authorization of the Department’s director. This last move—preservation as legitimation of custody—has been a constant feature of BnF’s response to Korean repatriation requests since the 1990s. The repatriation question has remained unresolved. Unlike the 297-volume Oegyujanggak royal protocols of the Joseon dynasty, which were “permanently lent” by France to Korea in 2011 following protracted negotiations that began in 1993, Jikji has remained in Paris, and no formal Korean state demand for ... Jikji was inscribed on the UNESCO Memory of the World International Register on September 4, 2001, following the Fifth Meeting of the International Advisory Committee held, significantly, in Cheongju from 27 to 29 June 2001. The inscription was the product of sustained coordination among the City of Cheongju, the CEPM, and the Korean National Commission for UNESCO. The submission was evaluated alongside 42 other documentary heritage candidates from 23 countries; under the chairmanship of Bendik Rugaas of the National Library of Norway, the IAC selected Jikji on grounds of rarity (a single surviving copy), historical significance (the oldest extant artifact of movable metal type printing), and global influence (transformation of human communication). The inscription has had consequential effects on three fronts. First, it formally consolidated international scholarly consensus on Jikji’s precedence over Gutenberg, a question that had remained marginal in Western book history. Second, it brought UNESCO badge usage and technical conservation support to the bearer institutions. Third, it operationally bound the BnF, as custodian of the inscribed item, to UNESCO Memory of the World preservation and access norms, including the obligation to facilitate digitization and online consultation. It is from this third effect that the subsequent Gallica digitization and the bilateral Korea-France digital collaboration flow. ... produced is a layered division of labor that can be summarized as follows. The BnF performs (a) physical conservation and custody, (b) authoritative bibliographic description in its general catalogue (notice cb44421589b) and Archives et manuscrits database (ark:/12148/cc78021m), (c) production of the canonical digital surrogate on Gallica, and (d) selective high-profile public exhibition. The CEPM, in turn, performs (a) restoration and reconstruction of the missing first volume from woodblock evidence (2011–2016), (b) physical replication of the metal-type-set itself, (c) contextual digital interpretation through Jikji Global, (d) educational programming and the operation of the Movable Metal Type Education Center, and (e) coordination of the UNESCO/ Jikji Prize ceremonies and the annual Jikji Festival. The value-additions on Jikji Global are illustrative. The platform’s “Original Text” e-book viewer reuses BnF-quality images but augments them with

# “Jikji”, a treasure of ... Jikji is the oldest known book in the world printed with movable metal type. It was printed in 1377 in what is now the city of Cheongju (Republic of Korea), 78 years before the Gutenberg Bible. Päk un (1298-1374) Päk un hoa sañ čʹorok pulčo čʹikčʹi simčʹe yočōl (Jikji) – BnF, département des Manuscrits ... Jikji is a Buddhist work, whose full title is Baegun hwasang chorok buljo jikji simche yojeol, which translates as Anthology of Great Buddhist Priests’ Zen Teachings. A xylograph version of the complete text of Jikji dated from 1378, from the monastery of Ch’wi’am, is preserved in Korea. The copy preserved at the BnF corresponds to the second volume of the text. ... Dating from 1377, Jikji was printed in the Heungdeok-sa temple in Cheongju, using movable, cast metal characters. It is considered by the international community, including UNESCO, to be the oldest known document printed using this process. Jikji is also listed as one of South Korea’s national treasures (classification no. 1132 in 1992) and has been included in the Memory of the World Register since 4 September 2001. ... It was not until 1972 that it was once again put on display during the “International Book Year”, when it was recognised in the West as the oldest existing book printed with movable metal type. The following year, Jikji was presented alongside the rarest and most precious manuscripts of the Bibliothèque nationale at the exhibition Trésors d’Orient (Treasures of the Orient).

In 1967, Dr. Park Byeongseon, then a librarian at the National Library of France, found the second volume of Jikji in the library’s collection. Jikji consists of two volumes that contain the essence of Zen teachings, compiled by Goryeo’s Monk Baekunhwasang. It was printed in 1377 with movable metal type at Heungdoek temple in Cheongju. Dr. Park proved that Jikji was indeed printed with movable metal type and introduced it to the public at an international book exhibition in Paris in 1972. The discovery of Jikji rewrote the world’s printing history. The world’s oldest extant book printed with movable metal type was known to be Johannes Gutenberg’s 42-Line Bible, printed in 1455, but Jikji was printed 78 years earlier. How did Goryeo (918-1392) become the first to produce movable metal type print? Goryeo possessed all the technologies that were prerequisites for movable metal type printing, such as metal casting and paper and ink making technologies. Goryeo had a long tradition of metal casting, and its paper and ink sticks were popular exports to China due to their superior quality. There is a historical record that Goryeo printed Sangjeong Gogeum Yemun with movable metal type in 1234, 143 years earlier than Jikji. Goryeo’s printing technology was further developed by Joseon. Right after its founding in 1392, Joseon created an office dedicated to movable metal type casting and printed many books with a variety of metal types. Korea’s movable metal type technology played an important role in advancing its knowledge and culture. The development of Goryeo’s Buddhism and Joseon’s Confucianism was largely benefited by movable metal type printing. In this sense, Jikji is a treasure that proves Korea’s advanced printing technology, which was the key to Korea’ ... What is the world ... In October, 1966, the world’s oldest woodblock print was found in the Seokgatap pagoda of the Bulguksa temple in the Korean southern city of Gyeongju. It was the Mugujeonggwang Daedaranigyeong, a Buddhist scripture printed in the early 8 th century in the ancient Korean kingdom of Silla (57 BC – AD 935). The scripture was found inside the pagoda during its restoration. Mugujeonggwang Daedaranigyeong is on a scroll that connected 12 pieces of 52cm by 6.7cm mulberry paper. Each line contains 7~9 characters printed with woodblocks. Its presumed date of printing is sometime before 751, when the pagoda was built. It is earlier than China’s Diamond Sutra (868) and Japan’s One Million Pagoda Dharani Sutra (776). How was Silla able to print the world’s oldest existing document? Korea had a papermaking technology from early on. Around the 6 th century, it had already produced paper from paper mulberry trees. Monk Damjing of Goguryeo delivered Goguryeo’s papermaking technology to Japan in the early 7 th century. Silla’s mulberry paper was widely known to China for its excellent quality. Mugujeonggwang Daedaranigyeong was also printed on mulberry paper. Silla’s papermaking technology was further developed by the later Korean kingdom of Goryeo (918 – 1392). In the 34 th year of King Munjong (1080), Goryeo officially exported 2,000 rolls of paper and 400 ink sticks to Song China. Song merchants also imported a lot of paper and ink sticks from Gogryeo. During Goryeo, Jikji was printed in 1377 at the Heungdeoksa temple in Cheongju. It is the world’s oldest extant book printed with movable metal type. Korea has many world-class documentary heritage items, including the Goryeo Daejanggyeong (Tripitaka Koreana) and the Joseon Wangjo Sillok (Annals of the Joseon Dynasty).

In 1996, at the UNESCO Chungbuk Association’s academic seminar titled “UNESCO and Early Printing Culture”, a suggestion was first made to inscribe Heungdeoksa Temple’s metal type book Jikji on the UNESCO Memory of the World (MoW) Register. Jikji is the world’s oldest extant metal type print book, published at least 78 years earlier than Gutenberg’s 42-line Bible and 145 years earlier than China’s Luxuriant Dew of the Spring and Autumn Annals, which demonstrates sufficient value as a world heritage. With the ceaseless efforts of relevant organizations including the Cheongju City government, Cheongju Early Printing Museum, Korean National Commission for UNESCO, and UNESCO Chungbuk Association, Jikji was inscribed on the MoW Register on September 4, 2001 in recognition of its value, following the evaluation process of 42 documentary heritage items submitted by 23 countries across the world at the fifth meeting of International Advisory Committee for UNESCO’s MoW Programme, which was convened in Cheongju from June 27 to 29, 2001. ... Established by UNESCO in 2004, the purpose of the UNESCO/Jikji Prize is to reward efforts contributing to the preservation of the world’s documentary heritage. The title of the prize comes from Jikji simche yojeol, the oldest extant movable metal type book in the world. ... The establishment of the prize was promoted to introduce the world to the precious values of Jikji, the oldest extant movable metal type book, namely its creative value as the invention of metal type, its historical value, its value as a means of sharing and spreading knowledge and information, and its artistic and cultural value. In addition, the establishment of the prize will herald the outstanding achievements of the Korean people to the world and highlight the potential of Korea and Cheongju to serve as global hubs of knowledge, information, and culture.

'Jikji' project to shed new light on world's oldest surviving book printed with metal type The Korea Times

CHEONGJU, North Chungcheong Province (Yonhap) -- In 2004, three years after confirming “Jikji” as the world’s oldest extant book printed with movable metal type, UNESCO decided to establish a prize in memory of its designation as world documentary heritage. The biennial UNESCO Jikji Memory of the World Prize is awarded to an individual or group who has made a contribution to preserving and promoting documentary heritage. The National Library of the Czech Republic received the inaugural honor in 2005, with four other institutions being awarded it so far. ... Jikji, which predates by 78 years the Gutenberg Bible in Germany, was originally printed in two volumes, but today only the second volume remains and is stored in France’s Bibliotheque Nationale, or National Library. It is believed to have been brought to ... diplomat and publisher, Collin de Plancy, who came to Korea in 1886 after the two countries forged a trade pact. After reappearing at an international book fair in France in 1972, the work drew global attention, prompting experts to rewrite the history of printing. It eventually encouraged the Paris-based UNESCO to list Jikji on the Memory of the World register in 2001, a program aimed at preserving and disseminating the world’s key documentary heritage.

Among the documentary inscriptions on UNESCO’s Memory of the World International Register, few items occupy as paradoxical a position as the Jikji. It is, on the one hand, a celebrated Korean cultural icon—Korean National Treasure No. 1132—since 1992, the centerpiece of an urban “Jikji Cultural Zone” in Cheongju, and the namesake of an internationally awarded UNESCO prize. On the other, the single surviving copy of the metal-type edition has resided continuously in Paris for over a century, currently catalogued as Coréen 109 in the Manuscripts Department of the Bibliothèque nationale de France (hereafter BnF) (2023). This bifurcation—between the geography of production and the geography of custody, and between national heritage claims and cosmopolitan custodial claims—has driven the development of an unusually elaborate digital, scholarly, and diplomatic infrastructure around a single late-fourteenth-century Buddhist anthology. This article reviews the infrastructure in three connected registers. The following chapter surveys the Jikji’s identity as a Buddhist textual artifact and assesses how the Cheongju Early Printing Museum’s (CEPM) Jikji Global platform translates the material book into a multilingual digital experience. The second chapter reconstructs the provenance from late Joseon Korea to BnF accession and analyzes the BnF’s twenty-first-century framing of Jikji as a “treasure of the world of printing.” The third chapter examines the UNESCO inscription of 2001, the UNESCO/Jikji Memory of the World Prize, and the establishment in 2023 of the UNESCO International Centre for Documentary Heritage (ICDH) in Cheongju. The last chapter evaluates the formal Korea-France collaborations that have allowed the CEPM to build a value-added platform on top of BnF-produced digital surrogates. The article closes with reflections on the model this case offers for international heritage cooperation and on the limits ... in two volumes at Heungdeoksa Temple outside Cheongju Magistracy using cast metal movable type. A woodblock edition followed in 1378 at Chwiamsa Temple, and it is from the surviving woodblock copies—held by the National Library of Korea, the Academy of Korean Studies, and several monasteries—that the missing first volume of the metal-type edition is reconstructed. The decisive evidentiary inscription is the colophon on the final leaf: “Cast in metal type and printed at Heungdeoksa Temple outside Cheongju Magistracy in the seventh month of the jeongsa year, the seventh year of Xuanguang (i.e., 1377)” 宣光七年丁巳七月日 淸州牧外興德寺鑄字印施. It is this single line that establishes Jikji as preceding Gutenberg’s 42-line Bible (c. 1455) by 78 years and that justifies its status as the world’s oldest extant document printed from movable metal type. 3 What survives at the BnF is the second (lower) volume only. The BnF’s manuscript catalogue describes the object as comprising 39 folios—but with the first folio (containing Chapter 38, Book 1) torn off, leaving 38 effective sheets of content, double-folded, 24.6 x 17.0 cm, on thin white Goryeo hanji, sewn with red thread at five points, and bound in a later (eighteenth-century) cream colored paper cover bearing the brush-written title “直指 下” (Jikji, vol. 2). ... BnF’s ceiling for the sale. The book remained in the Vever collection until 1950, when, according to the testamentary disposition Vever had prepared before his death in 1942 (some Korean sources give 1943), it was bequeathed to the Bibliothèque nationale. It physically entered the collections in 1952 under accession number Don 9832 and was assigned the shelfmark Coréen 109 in the Grande Réserve of the Manuscripts Department, Oriental Division. For a further two decades it remained essentially unknown to scholarship, until the Korean librarian Park Byeongseon (1923–2011) recruited to the BnF’s East Asian section in 1967, identified it among uncatalogued Korean holdings and submitted it for exhibition during the 1972 UNESCO International Book Year. The 1972 exhibition, followed by Trésors d’Orient in 1973, marked Jikji’s formal entry into Western book history. ... Jikji was inscribed on the UNESCO Memory of the World International Register on September 4, 2001, following the Fifth Meeting of the International Advisory Committee held, significantly, in Cheongju from 27 to 29 June 2001. The inscription was the product of sustained coordination among the City of Cheongju, the CEPM, and the Korean National Commission for UNESCO. The submission was evaluated alongside 42 other documentary heritage candidates from 23 countries; under the chairmanship of Bendik Rugaas of the National Library of Norway, the IAC selected Jikji on grounds of rarity (a single surviving copy), historical significance (the oldest extant artifact of movable metal type printing), and global influence (transformation of human communication). The inscription has had consequential effects on three fronts. First, it formally consolidated international scholarly consensus on Jikji’s precedence over Gutenberg, a question that had remained marginal in Western book history. Second, it brought UNESCO badge usage and technical conservation support to the bearer institutions. Third, it operationally bound the BnF, as custodian of the inscribed item, to UNESCO Memory of the World preservation and access norms, including the obligation to facilitate digitization and online consultation. It is from this third effect that the subsequent Gallica digitization and the bilateral Korea-France digital collaboration flow. ... UNESCO inscription accelerated the BnF’s digitization of Jikji. Although the surviving second volume had been microfilmed earlier (now digitized under BnF ARK identifier ark:/12148/btv1b100933766), the principal full-color access copy was produced and published on the BnF’s Gallica platform under ARK ark:/12148/btv1b52513236c, with the metadata indicating a refreshed indexation date of 30 August 2020. Gallica makes the complete folio sequence— described by the BnF catalogue as 39 feuillets (the first effectively absent, hence the conventional citation of 38 sheets)—available free of charge under public domain terms, downloadable in JPEG or PDF format, zoomable through the ... of the BnF, with initial actions including facilitation of Korean public access to the Imprimer! L’Europe de Gutenberg exhibition through Korean-language online resources and the joint organization of Jikji-themed conferences. The architecture that these agreements have produced is a layered division of labor that can be summarized as follows. The BnF performs (a) physical conservation and custody, (b) authoritative bibliographic description in its general catalogue (notice cb44421589b) and Archives et manuscrits database (ark:/12148/cc78021m), (c) production of the canonical digital surrogate on Gallica, and (d) selective high-profile public exhibition. The CEPM, in turn, performs (a) restoration and reconstruction of the missing first volume from woodblock evidence (2011–2016), (b) physical replication of the metal-type-set itself, (c) contextual digital interpretation through Jikji Global, (d) educational programming and the operation of the Movable Metal Type Education Center, and (e) coordination of the UNESCO/ Jikji Prize ceremonies and the annual Jikji Festival. The value-additions on Jikji Global are illustrative. The platform’s “Original Text” e-book viewer reuses BnF-quality images but augments them with eleven-language layered annotation at the page, column, and character level— functionality that Gallica, designed as a universal national-library platform, does not provide. The “Restored First Volume” e-book provides access to a text that does not exist as a metal-type physical object anywhere in the world; this is original Korean

Jikji is the oldest known book in ... world printed with movable metal type. It was printed in 137 ... in what is now the city of ... ongju (Republic of Korea), 78 years before the ... Jikji is a Buddhist work, whose full title is Baegun hwasang chorok buljo jikji simche yojeol, which translates as Anthology of Great Buddhist Priests’ Zen Teachings. A xylograph version of the complete text of Jikji dated from 1378, from the monastery of Ch’wi’am, is preserved in Korea. The copy preserved at the BnF corresponds to the second volume of the text. ... Dating from 1377, Jikji was printed in the Heungdeok-sa temple in Cheongju, using movable, cast metal characters. It is considered by the international community, including UNESCO, to be the oldest known document printed using this process. Jikji is also listed as one of South Korea’s national treasures (classification no. 1132 in 1992) and has been included in the Memory of the World Register since 4 September 2001. ... French Consul to Seoul during the reign of King Gojong (1863-1907), Victor Collin de Plancy acquired several hundred ancient Korean books, including Jikji, and brought them back to France. Jikji remained his property until 1911, when it was sold to the collector Henri Vever, who bequeathed it to the Bibliothèque nationale in 1950. The book entered the collections in 1952. ... At the 1900 Universal Exhibition in Paris, it was presented and made accessible to the general public for the first time in Europe, in the Korean pavilion alongside various objects and the Collin de Plancy collection. It was not until 1972 that it was once again put on display during the “International Book Year”, when it was recognised in the West as the oldest existing book printed with movable metal type. The following year, Jikji was presented alongside the rarest and most precious manuscripts of the Bibliothèque nationale at the exhibition Trésors d’Orient (Treasures of the Orient).

# A question of ownership Published January 12, 2009 - 1:12 a.m. Jikji, the world’s oldest extant movable metal print book, is currently kept at the National Library of France. ... Little was known about what had happened to these lost relics. The professor told Park that as a history major, she should try to find out more information, a task she began working on in the library. During her first year working part-time at the National Library, Park discovered an original volume of a long-lost Buddhist book. ... project, in 2001. ... Copies of the Jikji were printed and distributed at major Buddhist temples and followers. While the second volume is at the library in France, there is no trace of the first volume anywhere. Ownership of Jikji, which was printed at Heungdeok Temple in Cheongju, North Chungcheong, in 1377, is mired in controversy. France says it should remain in Europe but Koreans want it returned. Jikji is the world’s oldest extant book published using movable metal printing method. ... On Sept. 4, 2001, Jikji was formally added to Unesco’s Memory of the World. ... In 1998, the Korean Cultural Heritage Administration asked Unesco to include Jikji in the Memory of the World project, an international initiative designed to preserve valuable archives and collections from museums around the world. Unesco refused to do so at a meeting of the International Advisory Committee in Vienna, Austria, the following year. The committee said that since the book is kept in France, both Korea and France should recommend the book as a cultural relic. But the French library objected until the IAC meeting in June 2001, which was held in Cheongju. There is now a Unesco/Jikji Memory of the World Prize, set up in 2004, that aims to promote the Memory of the World project. An award of $30,000 is given every two years to individuals or institutions who make significant contributions to preserving world heritage. Though Jikji is an important publication for people involved in Korean studies, it remains in the National Library of France, where it’s been since 1950. ... Vever bequeathed the second volume of Jikji to the National Library of France and took possession following his death in 1950. The 39-page book has been there ever since. The first page of the second volume, however, is missing, so only 38 pages remain today. ... The Early Printing Museum, along with the World Jikji Culture Association, has been promoting a movement to search for the first volume of Jikji. But its whereabouts remains a mystery. The French government shows no inclination to return Jikji to Korea and it remains a sensitive issue, according to Kim Byung-yeon of the National Cultural Heritage Administration. ... Bong Seong-ki at the National Library of Korea says that ... France donates or voluntarily ... the historic document ... , there is ... Complete wooden copies are kept at the National Library of Korea, Jangseogak Library at the Academy of Korean Studies and Bulgap Temple in Yeonggwang, South Jeolla. The wooden copies were printed in 1378 at a temple in Yeoju, Gyeonggi.

Jan 15, 2009 On a summer’s day in 1955, PARK Byung-seon'50, a dreamy young Korean girl, boarded a plane for Paris. She was a graduate student from Seoul National University’s history department and had been given the opportunity to continue her education in France. After arriving, Park devoted herself to studying French and observing the country’s school system. She had a plan to establish a private school when she eventually returned to Korea. Little did she know then that she would become a lifelong resident in France as a historian. After more than a decade living in Europe, Park was offered a job at the National Library of France in Paris. She didn’t refuse the offer because at that time she was writing her doctoral dissertation. If she worked at the library, she would be able to take out the necessary books at no cost. But there was one other reason why she accepted the job. She remembered what her Korean professor had said before she left for France. Before her flight, he told her that many cultural properties were taken out of the country by French troops during the French invasion of Korea in 1866. Little was known about what had happened to these lost relics. The professor told Park that as a history major, she should try to find out more information, a task she began working on in the library. During her first year working part-time at the National Library, Park discovered an original volume of a long-lost Buddhist book. It was called “Anthology of Great Buddhist Priests’ Zen Teachings.” The Jikji, as it is known, was written in the late Goryeo period by the Buddhist monk Baegun (1289-1374). The book contains excerpts of Buddhist teachings on Seon, or Zen (the more common term used outside Korea), Buddhist sermons, conversations, letters and literary writings. The gist of the two-volume book is that if you look at a person’s heart through the practice of Zen, you will realize the meaning of Buddha. By putting the information together, Baegun had hoped the book would guide students and followers of Buddhism. Copies of the Jikji were printed and distributed at major Buddhist temples and followers. While the second volume is at the library in France, there is no trace of the first volume anywhere. Ownership of Jikji, which was printed at Heungdeok Temple in Cheongju, North Chungcheong, in 1377, is mired in controversy. France says it should remain in Europe but Koreans want it returned. Jikji is the world’s oldest extant book published using movable metal printing method. It’s older than Germany’s Gutenberg Bible, printed in 1455, which was previously thought to be the oldest document of that type. Park, 81 and currently living in France, presented the book at an international book fair in Paris in 1972. On Sept. 4, 2001, Jikji was formally added to Unesco’s Memory of the World. The Jikji Memory of the World Prize was created in 2004 to commemorate the creation of the Jikji. But it took time for the document to gain this level of recognition. In 1998, the Korean Cultural Heritage Administration asked Unesco to include Jikji in the Memory of the World project, an international initiative designed to preserve valuable archives and collections from museums around the world. Unesco refused to do so at a meeting of the International Advisory Committee in Vienna, Austria, the following year. The committee said that since the book is kept in France, both Korea and France should recommend the book as a cultural relic. But the French library objected until the IAC meeting in June 2001, which was held in Cheongju. There is now a Unesco/Jikji Memory of the World Prize, set up in 2004, that aims to promote the Memory of the World project. An award of $30,000 is given every two years to individuals or institutions who make significant contributions to preserving world heritage. Though Jikji is an important publication for people involved in Korean studies, it remains in the National Library of France, where it’s been since 1950. The story goes that the second volume of Jikji was taken out of Korea by Colin de Plancy (1853-1922). The French diplomat, who worked here in the late 1800s, used to collect Joseon ceramics and history books, which he took back to France when his term ended. Jikji was one of those relics. Plancy later sold the book to Henri Vever (1854-1943), an antiques dealer, for 180 francs. Vever bequeathed the second volume of Jikji to the National Library of France and took possession following his death in 1950. The 39-page book has been there ever since. The first page of the second volume, however, is missing, so only 38 pages remain today. “The condition of Jikji is fairly OK,” said Rah Kyung-jun, a researcher at the Early Printing Museum in Cheongju. Museum staff have been visiting the National Library of France regularly to check on the condition of the book, which is cared for by a special research team. The library also holds 650 cultural properties from the Silla, Goryeo and Joseon periods, mostly old documents and printing equipment. The Early Printing Museum, along with the World Jikji Culture Association, has been promoting a movement to search for the first volume of Jikji. But its whereabouts remains a mystery. The French government shows no inclination to return Jikji to Korea and it remains a sensitive issue, according to Kim Byung-yeon of the National Cultural Heritage Administration. “The relic wasn’t looted by France. It was taken out of the country legally by a private French collector. There is nothing that can be done at the governmental level,” Kim said. Bong Seong-ki at the National Library of Korea says that unless France donates or voluntarily returns the historic document to Korea, there is no hope. Complete wooden copies are kept at the National Library of Korea, Jangseogak Library at the Academy of Korean Studies and Bulgap Temple in Yeonggwang, South Jeolla. The wooden copies were printed in 1378 at a temple in Yeoju, Gyeonggi. The French Embassy in Korea declined to comment for this article on whether or not France would consider returning the relic. “While it’s difficult to even bring back looted cultural properties, it’s even more difficult to bring back property that was legally taken out of Korea,” Bong said. “All we can do now is to rightly keep cultural properties that still remain in Korea. If we’re not careful, we might lose those relics, too. It’s our responsibility to protect each of them, whether preserved inside or outside of the country.” Bong added that just because Jikji is in France doesn’t mean its soul has left Korea. “The spirit still remains in our hearts.”

The Temple of Haeinsa, on Mount Gaya, is home to the *Tripitaka Koreana* , the most complete collection of Buddhist texts, engraved on 80,000 woodblocks between 1237 and 1248. The buildings of Janggyeong Panjeon, which date from the 15th century, were constructed to house the woodblocks, which are also revered as exceptional works of art. As the oldest depository of the *Tripitaka* , they reveal an astonishing mastery of the invention and implementation of the conservation techniques used to preserve these woodblocks. ... The Janggyeong Panjeon in the Temple of Haeinsa, on the slopes of Mount Gayasan, is home to the *Tripitaka Koreana*, the most complete collection of Buddhist texts, laws and treaties extant, engraved on approximately 80,000 woodblocks between 1237 and 1248. The Haeinsa *Tripitaka* woodblocks were carved in an appeal to the authority of the Buddha in the defense of Korea against the Mongol invasions. They are recognized by Buddhist scholars around the world for their outstanding accuracy and superior quality. The woodblocks are also valuable for the delicate carvings of the Chinese characters, so regular as to suggest that they are the work of a single hand. The Janggyeong Panjeon depositories comprise two long and two smaller buildings, which are arranged in a rectangle around a courtyard. As the most important buildings in the Haeinsa Temple complex, they are located at a higher level than the hall housing the main Buddha of the complex. Constructed in the 15th century in the traditional style of the early Joseon period, their design is characterized by its simplicity of detailing and harmony of layout, size, balance and rhythm. The four buildings are considered to be unique both in terms of their antiquity with respect to this specialized type of structure, and for the remarkably effective conservation solutions that were employed in their design to protect the woodblocks from deterioration, while providing for easy access and storage. They were specially designed to provide natural ventilation and to modulate temperature and humidity, adapted to climatic conditions, thus preserving the woodblocks for some 500 years from rodent and insect infestation. The Haeinsa Temple complex is a famous destination for pilgrimages, not only among Korean Buddhists, but Buddhists and scholars from all over the world. **Criterion (iv): **The depositories of the Haeinsa Temple are unique both in terms of their antiquity so far as this specialized type of structure is concerned, and also for the remarkably effective solutions developed in the 15th century to address the problem of storing and conserving the 80,000 woodblocks used to print the Buddhist scriptures (*Tripitaka Koreana*) against deterioration. ... The temple complex, individual structures and woodblocks maintain a high degree of authenticity. The Janggyeong Panjeon continues to house the 80,000 woodblocks of the *Tripitaka Koreana* and maintains both their original form and function. Restoration of the four depositories was carried out during the past 30 years in order to conserve the buildings. The form, general layout and architectural detailing of the buildings have been preserved to this day without any major changes or damage. ... Haeinsa Temple is owned by the Korean Buddhist Jogye Order. The Daejanggyeongpan (*Tripitaka Koreana* Woodblocks) and the Janggyeong Panjeon (the depositories) have been designated as National Treasures, under the Cultural Heritage Protection Act. The entire area of Haeinsa Temple is designated as a Historic Site and a 2,095 ha area around the temple complex including Mount Gayasan, is designated as a Scenic Site under the same Act. The entire area of Mount Gayasan surrounding the temple is designated and protected as a National Park by the Natural Parks Act, which acts as a buffer zone to the cultural heritage. Haeinsa Temple is also registered as a ‘Buddhist Temple with historical significance’ under the Traditional Buddhist Temple Preservation Law. These designations impose strict constraints on alterations to the property and buffer zone. At the national level, the Cultural Heritage Administration (CHA) is responsible for establishing and enforcing policies for the protection of the temple complex and buffer zone, and allocating financial resources for the conservation of the Janggyeong Panjeon and the woodblocks. Gyeongsangnam-do Province provides additional financial support for the conservation of the temple and its woodblocks, and Hapcheon-gun County is directly responsible for the more specific operations of conservation and management. Haeinsa Temple is in charge of the day-to-day management and provides information on the woodblocks via its website. Regular day-to-day monitoring of the property is carried out and in-depth professional monitoring is conducted on a 3 to 4 year basis. ... the National Certification Exams in ... under the various statutory designations provide the ... for conservation.

■ The Goryeo Daejanggyeong (Goryeo dynasty Tripitaka), known as the “Tripitaka Koreana” to the modern scholarly world, is a Korean collection of the Tripitaka (Buddhist scriptures). Carved onto 81,258 wooden printing blocks in the 13th century, under commission by the Goryeo dynasty of Korea (918-1392 CE), it is currently stored at Haeinsa Monastery in the southwest of the Korean Peninsula. It is often called the Palman Daejanggyeong ("Eighty thousand Tripitaka") due to the number of the printing plates that comprise it. ... ■ Though the Tripitaka Koreana was a task commissioned by the Goryeo dynasty to produce an edition of the Tripitaka in wooden printing blocks, there were also individual woodblocks of miscellaneous Buddhist scriptures commissioned directly by Haeinsa Monastery. With year of scribing dating from 1098 to 1958, there are 5,987 miscellaneous woodblocks that have been created and stored at Haeinsa Monastery. These miscellaneous scripture woodblocks, some of which are the only extant copy in the world, were created to supplement the Tripitaka. ... ■ Definition - The wooden printing blocks of the Tripitaka Koreana refer to the 81,258 blocks created in the Goryeo dynasty of Korea (918~1392) in order to print the collection of Buddhist scriptures, the Tripitaka. - The wooden printing blocks of miscellaneous Buddhist scriptures refer to the 5,987 miscellaneous Buddhist scriptures that have inscribed other scriptures, Buddhist history, discourses and narratives by notable Buddhist monk-scholars, and illustrations. ■ The process of production, preservation, and dissemination - The Goryeo dynasty of Korea (918~1392) first began production of an edition of the Tripitaka in 1011, seeing completion in 1087. However, this first edition (known as the Chojo Daejanggyeong, or "First Tripitaka") was destroyed in 1234 during an invasion by the Mongols. Although the original printing blocks of this first edition were completely lost, a few copies that were printed from this set of printing blocks were distributed to various parts of Korea and Japan, where they survive to this day. - In order to replace the lost Chojo Daejanggyeong, the task of producing another set of the Tripitaka was undertaken by the nation, beginning with the formation of the Daejangdogam (Tripitaka Supervising Office) in Ganghwado Island, in the year of Gojong 23, or 1236. The monumental work, through the long labour of thousands of scholars and craftsmen, was completed in 16 years, in the year of Gojong 38, or 1251. This is known as the Jaejo Daejanggyeong (Second Tripitaka), and it is the edition that survives to this day and is commonly referred to as the Tripitaka Koreana. - On the text margins of the wooden printing blocks of the Tripitaka Koreana were inscribed the name of the scribe who carved each block in intaglio or relief. The number of different monastic and secular names amounts to as many as 1,800. - After creation, the woodblocks of the Tripitaka Koreana were first dedicated at the Woodblocks Hall (pandang), outside the west gate of Ganghwado Island, and then moved to Seonwonsa Monastery in Ganghwado Island. Later, in 1398, the woodblocks of the Tripitaka Koreana were taken by ship up the Hangang River, to Jicheonsa Monastery in Yongsan, on the outskirts of Seoul. In the fall of 1398, it was finally moved for permanent storage at Haeinsa Monastery, where it remains under its custody to this day. - Thereafter, Haeinsa Monastery continually printed, published and distributed new copies from the printing blocks of the Tripitaka Koreana, whenever the need arose. ... The Tripitaka Koreana is the only existing example of a Tripitaka in the form of wooden printing blocks. Only a portion of the contents of the Chinese North Song version, the Kitan version, and the Chojo Daejanggyeong (First Daejanggyeong, the edition predating the Tripitaka Koreana) of the Tripitakas produced prior to the Tripitaka Koreana survive to date, much less the original wooden printing blocks, which have been lost. That such a great number of wooden printing blocks have been completely preserved and transmitted to date, along with various techniques and cultures of printing, is a testament to the uniqueness of the woodblocks of the Tripitaka Koreana and miscellaneous scriptures as a cultural asset. ... Although all the other woodblock Tripitakas have since been destroyed and lost, the woodblocks of the Tripitaka Koreana have been excellently preserved to the present and are fully capable of creating beautiful prints even now, despite being produced near 760 years ago from 1237-1248. While only portions of the prints from other Tripitakas were circulated, the many prints of the Tripitaka Koreana were made and circulated as a complete set to all parts of Asia, serving as the standard text for East Asian Buddhists and scholars. ... ■ Rarity - The Tripitaka Koreana is the oldest complete canon of Buddhist scripture, that was edited, compiled, and collated from the various Tripitakas of the time that did not survive to the present. - Even in materials and technique, the Tripitaka Koreana was produced with the finest woodblock printing technology of the time. This is attested in part by the near-complete preservation and quality of the woodblocks that even today allow beautiful prints to be made, more than 760 years after its production. ■ Integrity - The woodblocks of the Tripitaka Koreana and miscellaneous scriptures are preserved today in the same condition and form as the day of production. Although some of the woodblocks are over 908 years old, aside from a minute number of worn-down plates, they are almost entirely intact and able to create prints. - The woodblocks of the Tripitaka Koreana have been under strict management by government institutions even from the time of inscription. Even today, although they are the property of Haeinsa Monastery, the management and preservation efforts of the government continue, alongside similar efforts by Haeinsa Monastery in establishing a centre for professional management. ■ Threat - The fact that the woodblocks of the Tripitaka Koreana and miscellaneous scriptures, over 80,000 in number, have survived the test of hundreds of years while avoiding dangers such as fire or insects attests to the quality of the material and the advanced level of technology that was used to produce the woodblocks. In addition, the meticulous construction of an advanced storage facility specifically for the woodblocks, called the Janggyeongpanjeon, has helped in the preservation efforts to date. However, in order to continue preservation and management, long-term strategies and plans of management need to be made. ... Under the regulation and enforcement of the "Cultural Heritage Protection Act" (Article 4), the Janggyeongpanjeon (Woodblock Storage House Complex), the Tripitaka Koreana woodblocks and other woodblock scriptures at Haeinsa were designated in December 20, 1962 and are to date maintained as National Treasures. Furthermore, under the Article 6 of the above Act, a 1,856ha parcel of land in Mt. Gayasan, including and surrounding Haeinsa Monastery, was designated and is to date maintained as a Historic and Scenic Site. The area up to 500 meters from the Janggyeongpanjeon was designated as a Cultural Heritage Protection Area (Article 8), and is limited from any arbitrary changes to its current condition (Article 20). ... , 87cm x 6044cm, known as the Sudarajeon (Sutra Hall), built in the traditional Korean style and located to the south, as well in the Beopbojeon (Dharma Jewel Hall) which is located to the north, parallel to the Sudarajeon. Additionally, more are housed in two smaller buildings, 748cm x 344cm, called Pango (Storage House for Woodblocks) built between these two buildings to the east and west. These four buildings are collectively known as the Janggyeongpanjeon (Tripitaka Woodblock

The Goryeo Daejanggyeong (Goryeo dynasty Tripitaka), known as the Tripitaka Koreana to the modern scholarly world, is a Korean collection of the Tripitaka (Buddhist scriptures). Carved onto 81,258 wooden printing blocks in the 13th century, under commission by the Goryeo dynasty of Korea (918-1392 CE), it is currently stored at Haeinsa Monastery in the southwest of the Korean Peninsula. It is often called the Palman Daejanggyeong (Eighty-thousand Tripitaka) due to the number of the printing plates that comprise it. The Tripitaka (in Sanskrit, meaning Three Baskets), or Daejanggyeong in Korean, refers to the collection of Buddhist scriptures, or Buddhist canon, that relate to discourses with the Buddha (Sutta-pitaka), regulations of monastic life (Vinaya-pitaka), and commentaries on the sutras by renowned monks and scholars (Abhidhamma-pitaka). When Buddhism was transmitted to East Asia through China, and the Buddhist scriptures translated from various Indian and Central Asian languages to classical Chinese (the lingua franca of educated discourse throughout East Asia, including Korea), there were several attempts by several countries to inscribe them in wooden printing blocks for distribution. However, the Tripitaka Koreana is the only complete canon still extant on the mainland of Asia. Though the Tripitaka Koreana was a task commissioned by the Goryeo dynasty to produce an edition of the Tripitaka in wooden printing blocks, there were also individual woodblocks of miscellaneous Buddhist scriptures commissioned directly by Haeinsa Monastery. With year of scribing dating from 1098 to 1958, there are 5,987 miscellaneous woodblocks that have been created and stored at Haeinsa Monastery. These miscellaneous scripture woodblocks, some of which are the only extant copy in the world, were created to supplement the Tripitaka. The woodblocks of the Tripitaka Koreana and miscellaneous scriptures possess high cultural value as an example of the best printing and publishing techniques of the period. Each block was systematically and meticulously prepared, and individually and beautifully inscribed with a great degree of regularity. Their excellent durability has been proven well, as the printing blocks can even now print crisp, complete copies of the Tripitaka, 760 years after its creation. Due to the sophistication of its editing and process of compilation and collation, the Tripitaka Koreana is known as the most accurate of the Tripitakas written in classical Chinese; as a standard critical edition for East Asian Buddhist scholarship, it has been widely distributed and used over the ages. The woodblocks of the Tripitaka Koreana and miscellaneous Buddhist scriptures show an outline of a complete knowledge system that produces and distributes knowledge. The Tripitaka is a compilation of Buddhist literature including scripture, disciplinary manuals, commentary, doxography and history; based on this collection of information a unique system of scholastic research was established. These wooden printing blocks became a medium through which knowledge could be produced and distributed continuously. Using these woodblocks, Haeinsa Monastery printed copies every time need arose, as resources for research and material for the education of the ordained. Accordingly, Haeinsa Monastery was able to become a central locus for the traditional practice of knowledge transmission, where Buddhist education, the preservation of knowledge, and scholastic research could be conducted. Even in the present, Haeinsa Monastery reflects this tradition as a centre of Buddhist scholastic study as the designated Dharma-jewel Monastery of Korea, responsible for the teaching and transmission of the Dharma, amongst the Three Precious Jewels of Buddhism&column; Buddha, Dharma, Sangha, i.e. Buddha, the Law, and the Ecclesia or Order.

| The Tripitaka, or the “sutras in three baskets,” was compiled twice during Goryeo. The compilation of the first edition began in 1011, the second year of King Hyeonjong, and was completed in 1087, the fourth year of King Seonjong. The project lasted for 76 years through six reigns. However, the Mongol invaders burned the printing blocks in 1232. Compilation of the second edition began in 1236, the 23rd year of King Gojong, and was completed in 1251, the 38th year of Gojong. This second edition is the Tripitaka Koreana, which is known by the Korean name Palman Daejanggyeong (The Great Collection of Scriptures in Eighty Thousand Blocks) or Goryeo Daejanggyeong (The Great Collection of Scriptures of Goryeo). Initially, the printing blocks of this second edition were kept on Ganghwa Island, the seat of Goryeo’s wartime government. Later the woodblocks were temporarily moved to Seoul when the island became a frequent target for Japanese marauders and then in 1398, the seventh year of King Taejo of the Joseon Dynasty, to Haeinsa Temple, where they have been kept until today. Depository in Mountain Monastery Haeinsa Temple, built in 802 during the Unified Silla period, is nestled on Mt. Gaya in Hapcheon, South Gyeongsang Province. Since its founding Haeinsa has been recognized as one of Korea’s leading Buddhist monasteries. Particularly, it is known for representing one of the “three jewels of Buddhism,” that is, the Buddha, the Dharma (teachings of the Buddha), and the Sangha (community of monks who deliver the Buddha’s teachings). As it houses the Tripitaka, a collection of the Buddha’s teachings, Haeinsa is appropriately called the “Temple of Dharma.” The storage buildings for the Tripitaka Koreana are located on the highest temple grounds. The site is highly symbolic in view of the fact that the hall of the Buddha usually sits at the highest and most important spot on most other temple compounds. Moreover, Haeinsa keeps the printing blocks in perfect condition. Since wood is vulnerable to fire, moisture and insects, it is incredible that all these blocks have been successfully preserved, without a single piece showing signs of decay or warping, for the past seven and a half centuries. What is the secret behind this miraculous feat? Though the printing blocks were also made with special care to endure time and the elements, the storage buildings are the first true wonder. Tripitaka Koreana is known as the world’s finest extant Buddhist canon in Chinese script but its depository, the only one of its kind in the world, is a no less wondrous achievement of medieval science and technology. Fires and Wartime Destruction Haeinsa had seven fires between 1695, the 21st year of King Sukjong, and 1871, the eighth year of King Gojong of Joseon, but the Tripitaka archives remained completely unscathed, embellishing the mystery surrounding the seemingly simple wooden buildings. It is not known exactly when the two storage buildings, named Tripitaka Hall (Janggyeonggak), were constructed but they are evidently the oldest structures of Haeinsa, preserving the simple beauty of the wooden architecture of the early Joseon period (1392-1910). Historical records say that 46 kan, or inter-columns bays, of the archive buildings were reconstructed under orders of King Sejo in 1457, the third year of his reign. Some 30 bays were repaired with support from the royal family in 1488, the 19th year of King Seongjong. One of the two buildings, named the Storage of Sutra (Sudarajang), was repaired in 1622, the 14th year of King Gwanghaegun; the other building, named the Hall of Dharma Jewel (Beopbojeon), was repaired in 1624, the second year of King Injo. The Tripitaka depository faced yet another crisis during the Korean War of 1950-1953. The area around Haeinsa was among the fiercest battlegrounds during the internecine armed conflict. The South Korean and U.N. forces bombarded the area many times to suppress the North Korean guerrillas hiding in the mountains after being left behind by a troop withdrawal. However, the temple and the Tripitaka were miraculously saved from being reduced to ashes, thanks to people who appreciated their value. The hero now admired for his “righteous disobedience” is Air Force Colonel Kim Young-hwan. Colonel Kim was ordered to destroy Haeinsa during the anti-guerrilla campaign in September 1951. He led his squadron of jet fighters flying over the area but decided not to drop a single bomb. Kim later said during an investigation that he could not burn the nation’s invaluable cultural treasures in order to kill a few communist guerrillas. Scientific Design Utilizing Natural Conditions The depository buildings for the Tripitaka Koreana were designed to take maximum advantage of the topography of the terrain. Resting on the highest area in the temple grounds, at 655 meters above sea level on the middle of the slope of Mt. Gaya which is 1,430 meters high, the elongated wooden pavilions face the southwest so as to receive sunlight for long hours - 12 hours a day in the summer, nine hours in the spring and the autumn, and seven hours in the winter. No parts of the buildings are in permanent shade. Thus they prevent the woodblocks from getting moist or from decaying, and they keep out moss, mildew and insects. The depository consists of four buildings - the two Tripitaka archives sitting back to back with a rectangular courtyard between them, and two annex buildings standing on either end of the courtyard. The northern building is the main archive named the Hall of Dharma Jewel, and the southern building is the Storage of Sutra. The two small buildings facing the courtyard keep printing blocks for scriptures and other books published by the temple. The Tripitaka archives are both 60.44 meters long, with 15 bays on the front and two bays on the sides, and have hipped roofs. They are simple wooden structures with no decorative elements other than vertically grilled, open windows. These windows are the core devices displaying the ingenious creativity of the medieval architects. Both buildings have two rows of wooden grill windows on the front and back walls divided by a central molding. The windows differ in size, which is the essential wisdom behind the efficient adjustment of air flow and sunlight ensuring maximum ventilation, temperature and humidity control. In the case of the Storage of Sutra in the front, for example, the windows of the lower row on the front wall are about four times larger than those of the upper row, while the upper windows on the back wall are about one and a half times the size of the lower windows. In the case of the Hall of Dharma Jewel to the back, the lower windows on the front wall are approximately 4.6 times the size of the upper windows, and the upper windows on the back wall are about 1.5 times the size of the lower windows. This is apparently a plan based on the theory of hydrodynamics and air flow. The windows allow for maximum natural ventilation; fresh air is brought in through the large upper windows to circulate around the hall before escaping through the windows on the opposite side. The small lower windows on the back wall keep moisture from seeping in from the ground outside. Furthermore, the back windows of the Hall of Dharma Jewel slightly differ in size from bay to bay. This also seems to be a design element utilized to maximize the hall’s conservatory function based on empirical judgment. However, modern science has yet to answer precisely how. Another secret rests in the floors of the depository halls. Built upon thin granite foundations that facilitate smooth drainage, these buildings have clay floors with thick layers of salt, charcoal and lime underneath, which absorb excess moisture during the summer rainy season and maintain an optimum humidity level by letting out the moisture during the dry winter months. The clay walls of the buildings also help enhance these functions.

| Heritage Search Detail | Classification | National Treasure | | --- | --- | --- | | Name of Cultural Properties | Janggyeongpanjeon Depositories of Haeinsa Temple, Hapcheon | | Quantity | 4 buildings | | Designated Date | 1962.12.20 | | Age | The 19th year of the reign of King Seongjong of Joseon (1488) | | Address | Haeinsa Temple, 122, Haeinsa-gil, Gaya-myeon, Hapcheon-gun, Gyeongsangnam-do | Located on a mid-slope of Gayasan Mountain, Haeinsa Temple was established in 802 under the auspices of King Aejang (r. 800-809) of the Unified Silla, who believed that Buddha had helped his queen recover from her illness. As the Temple of Dharma, one of the three-jeweled temples in Korea, it houses a huge collection of about 80,000 Tripitaka Koreana woodblocks.The two buildings used to store the Tripitaka Koreana woodblocks in Haeinsa Temple are known to be the oldest of all the buildings currently standing in the temple, although no specific dates are given regarding their construction. Undergoing major renovation in 1457, the buildings were rebuilt in 1488 under the supervision of Buddhist Monk Hakjo and with the support of the royal family and named Boandang. Their location in a remote mountainous area helped the buildings remain safe during the Japanese Invasion of Korea in 1592 and maintain their original structures. Records show that the depositories underwent two more renovation works in 1622 and 1624.The two buildings, each with 15 bays on the front and 2 bays on the sides, stand side by side, one (called Sudarajang Depository) in the south and the other (Beopbojeon Hall) in the north. There are two small book storages in the east and west; thus forming a rectangular courtyard with the woodblock depositories. The buildings are designed such that they could best fulfill their functions as depositories of woodblocks; thus, all the extra decorative elements were removed. Each depository has two rows of windows in different sizes -- one on the front and the other on the rear -- designed to ensure effective natural ventilation. The earthen floor is laid over layers of powdered charcoal, lime, salt, and sand; thus effectively controlling moisture in a natural manner. Experts believe that these depositories have been able to exploit the natural condition surrounding them in a creative manner to provide scientifically effective condition for the preservation of the Tripitaka Koreana woodblocks for such a long period. These 15th century buildings are the world’s only structures built for the storage of Tripitaka printing woodblocks whose cultural uniqueness and value landed them in UNESCO’s list of world heritage sites.

Printing woodblocks of the Tripitaka Koreana and miscellaneous Buddhist scriptures. ... Statement of Outstanding Universal Value Brief synthesis The Janggyeong Panjeon in the Temple of Haeinsa, on the slopes of Mount Gayasan, is home to the Tripitaka Koreana, the most complete collection of Buddhist texts, laws and treaties extant, engraved on approximately 80,000 woodblocks between 1237 and 1248. The Haeinsa Tripitaka woodblocks were carved in an appeal to the authority of the Buddha in the defense of Korea against the Mongol invasions. They are recognized by Buddhist scholars around the world for their outstanding accuracy and ... The woodblocks are ... delicate carvings of the Chinese characters, ... to suggest that they are the work of a single hand. ... Janggyeong Panjeon depositories comprise two long and two smaller buildings, which are arranged in a rectangle around a courtyard ... As the most important buildings in the Haeinsa Temple complex, they are located at a higher level than the hall housing the main Buddha of the complex. Constructed in ... 15th century in the traditional style of the early Joseon period, their design is characterized by its simplicity of detailing and harmony of layout, size, balance and rhythm. The four buildings are considered to ... unique both in terms of their ... with respect to this specialized type of structure, and for the remarkably ... conservation solutions that were employed in their design to protect the ... blocks from deterioration, while providing for easy access ... They were specially designed to provide natural ventilation and to modulate temperature ... humidity, adapted to climatic conditions ... blocks for some 500 years from rodent and insect infestation. The Haeinsa Temple complex is a famous destination for pilgrimages, not only among Korean Buddhists, but Buddhists and scholars from all over the world. Criterion (iv): The depositories of the Haeinsa Temple are unique both in terms of their antiquity so far as this specialized type of structure is concerned, and also for the remarkably effective solutions developed in the 15th century to address the problem of storing and conserving the 80,000 woodblocks used to print the Buddhist scriptures (Tripitaka Koreana) against deterioration. Criterion (vi): The Janggyeong Panjeon and its unique collection of 13th century Tripitaka Koreana woodblocks, outstanding for their artistry and excellent execution of engraving techniques, occupy an exceptional position in the history of Buddhism as the most complete and accurate corpus of Buddhist doctrinal texts in the world. Integrity All components of the Haeinsa Temple complex, including the Janggyeong Panjeon and the Tripitaka Koreana woodblocks, are included within the boundaries of the designation. The overall condition of the Janggyeong Panjeon is good, though continuous repairs are required to the woodblocks and to the shelves on which the woodblocks are stored. The remarkably successful conservation solutions employed in the design of the depositories, which provide for natural ventilation and temperature and humidity control, have resulted in the protection of the woodblocks for over 500 years from rodent and insect infestation. Temperature and humidity levels should continue to be strictly monitored and controlled. The woodblocks and depositories are of wood construction and are susceptible to fire damage and theft. Authenticity The temple complex, individual structures and woodblocks maintain a high degree of authenticity. The Janggyeong Panjeon continues to house the 80,000 woodblocks of the Tripitaka Koreana and maintains both their original form and function. Restoration of the four depositories was carried out during the past 30 years in order to conserve the buildings. The form, general layout and architectural detailing of the buildings have been preserved to this day without any major changes or damage. Protection and management requirements Haeinsa Temple is owned by the Korean Buddhist Jogye Order. The Daejanggyeongpan (Tripitaka Koreana Woodblocks) and the Janggyeong Panjeon (the depositories) have been designated as National Treasures, under the Cultural Heritage Protection Act. The entire area of Haeinsa Temple is designated as a Historic Site and a 2,095 ha area around the temple complex including Mount Gayasan, is designated as a Scenic Site under the same Act. The entire area of Mount Gayasan surrounding the temple is designated and protected as a National Park by the Natural Parks Act, which acts as a buffer zone to the cultural heritage. Haeinsa Temple is also registered as a ‘Buddhist Temple with historical significance’ under the Traditional Buddhist Temple Preservation Law. These designations impose strict constraints on alterations to the property and buffer zone. At the national level, the Cultural Heritage Administration (CHA) is responsible for establishing and enforcing policies for the protection of the temple complex and buffer zone, and allocating financial resources for the conservation of the Janggyeong Panjeon and the woodblocks. Gyeongsangnam-do Province provides additional financial support for the conservation of the temple and its woodblocks, and Hapcheon-gun County is directly responsible for the more specific operations of conservation and management. Haeinsa Temple is in charge of the day-to-day management and provides information on the woodblocks via its website. Regular day-to-day monitoring of the property is carried out and in-depth professional monitoring is conducted on a 3 to 4 year basis. General conservation focuses on protecting the physical environment of the property together with various projects that concentrates on the documentary values of the Tripitaka wood ... . Conservation work ... Heritage Conservation Specialists who have passed the National Certification Exams in their ... . Although there ... no specific management plan for the ... , management policies of collaborating institutions under ... statutory designations provide the framework for conservation. In order to protect the Janggyeon Panjeon and wood ... from fire, full-time security guards and a 24-hour surveillance system are in place and a lightening rod ... Under the provisions of Article 4 of the Cultural Heritage Protection Act, the Tripitaka Koreana woodblocks are designated National Treasure No 32 and the Haeinsa Changgyong P’ango (depositories) as National Treasure No 52. Article 6 of this Law, supported by Article 3 of the statutory regulations pertaining to it, designate the 1858 ha area around the temple complex, including Mount Kaya, as an Historical Site Scenic Area. These designations impose strict constraints on any change to their current status. Haeinsa Temple is also registered as a “Buddhist temple with historical significance” under the terms of Article 3 of the Traditional Buddhist Temple Preservation Law. The surrounding area is designated as Mount Kaya National Park Under Article 14 of the National Park Law, a Cultural Heritage Preservation Zone under Article 18 of the Urban Planning Law, and a Natural Environment Preservation zone under Article 13 of the Law of National Land Use Management. Source: ICOMOS Evaluation; Periodic Reporting Cycle 2 Comment In February 2020, the Republic of Korea enacted a Special Act on the Preservation, Management and Utilization of World Heritage properties in order to enhance public cultural pride and contribute to the promotion of international cooperation by preserving common heritage. 5.2.2 - Please list any legislation and other measures (regulatory -including spatial planning- contractual, institutional or traditional)

The Temple of Haeinsa, on Mount Gaya, is home to the *Tripitaka Koreana* , the most complete collection of Buddhist texts, engraved on 80,000 woodblocks between 1237 and 1248. The buildings of Janggyeong Panjeon, which date from the 15th century, were constructed to house the woodblocks, which are also revered as exceptional works of art. As the oldest depository of the *Tripitaka* , they reveal an astonishing mastery of the invention and implementation of the conservation techniques used to preserve these woodblocks. ... The Janggyeong Panjeon in the Temple of Haeinsa, on the slopes of Mount Gayasan, is home to the *Tripitaka Koreana*, the most complete collection of Buddhist texts, laws and treaties extant, engraved on approximately 80,000 woodblocks between 1237 and 1248. The Haeinsa *Tripitaka* woodblocks were carved in an appeal to the authority of the Buddha in the defense of Korea against the Mongol invasions. They are recognized by Buddhist scholars around the world for their outstanding accuracy and superior quality. The woodblocks are also valuable for the delicate carvings of the Chinese characters, so regular as to suggest that they are the work of a single hand. The Janggyeong Panjeon depositories comprise two long and two smaller buildings, which are arranged in a rectangle around a courtyard. As the most important buildings in the Haeinsa Temple complex, they are located at a higher level than the hall housing the main Buddha of the complex. Constructed in the 15th century in the traditional style of the early Joseon period, their design is characterized by its simplicity of detailing and harmony of layout, size, balance and rhythm. The four buildings are considered to be unique both in terms of their antiquity with respect to this specialized type of structure, and for the remarkably effective conservation solutions that were employed in their design to protect the woodblocks from deterioration, while providing for easy access and storage. They were specially designed to provide natural ventilation and to modulate temperature and humidity, adapted to climatic conditions, thus preserving the woodblocks for some 500 years from rodent and insect infestation. The Haeinsa Temple complex is a famous destination for pilgrimages, not only among Korean Buddhists, but Buddhists and scholars from all over the world. **Criterion ( ... ): **The depos ... insa Temple are unique both in ... of their antiquity so far as this ... ): **The ... ong Panjeon ... The temple complex, individual structures and woodblocks maintain a high degree of authenticity. The Janggyeong Panjeon continues to house the 80,000 woodblocks of the *Tripitaka Koreana* and maintains both their original form and function. Restoration of the four depositories was carried out during the past 30 years in order to conserve the buildings. The form, general layout and architectural detailing of the buildings have been preserved to this day without any major changes or damage. ... Haeinsa Temple is owned by the Korean Buddhist Jogye Order. The Daejanggyeongpan (*Tripitaka Koreana* Woodblocks) and the Janggyeong Panjeon (the depositories) have been designated as National Treasures, under the Cultural Heritage Protection Act. The entire area of Haeinsa Temple is designated as a Historic Site and a 2,095 ha area around the temple complex including Mount Gayasan, is designated as a Scenic Site under the same Act. The entire area of Mount Gayasan surrounding the temple is designated and protected as a National Park by the Natural Parks Act, which acts as a buffer zone to the cultural heritage. Haeinsa Temple is also registered as a ‘Buddhist Temple with historical significance’ under the Traditional Buddhist Temple Preservation Law. These designations impose strict constraints on alterations to the property and buffer zone. At the national level, the Cultural Heritage Administration (CHA) is responsible for establishing and enforcing policies for the protection of the temple complex and buffer zone, and allocating financial resources for the conservation of the Janggyeong Panjeon and the woodblocks. Gyeongsangnam-do Province provides additional financial support for the conservation of the temple and its woodblocks, and Hapcheon-gun County is directly responsible for the more specific operations of conservation and management. Haeinsa Temple is in charge of the day-to-day management and provides information on the woodblocks via its website. Regular day-to-day monitoring of the property is carried out and in-depth professional monitoring is conducted on a 3 to 4 year basis. ... the National Certification ... . Although there ... **Republic of Korea** **Date of In ... :** 1995 ... iv)(vi

1.8 - Other designations / Conventions under which the property is protected (if applicable) Comment Entire area of the Haeinsa Temple and Mt. Gayasan is protected as a National Park of Korea. 1.2 - World Heritage Property Details State(s) Party(ies) Korea, Republic of Type of Property cultural Identification Number 737 Year of inscription on the World Heritage List 1995 ... Statement of Significance The World Heritage Committee inscribed this site on the World Heritage List on the basis of criteria (iv) and (vi), in recognition that the Korean version of the Buddhist scriptures (Tripitaka Koreana) at the Haeinsa Temple is one of the most important and most complete corpus of Buddhist doctrinal texts in the world, and is also outstanding for the high aesthetic quality of its workmanship. The buildings in which the scriptures are housed are unique both in terms of their antiquity so far as this specialized type of structure is concerned, and also for the remarkably effective solutions developed in the 15th century to the problems posed by the need to preserve woodblocks against deterioration. ... 2.2 - The ... (20 ... 5 revised version) under which the property ... 2.3 ... Attributes expressing the Outstanding ... iv) The Janggyeongpanjeon, depositories for ... Tripitaka Koreana woodblocks ... Temple as the Dharma Temple of Korean Buddhism, and the Trip ... aka Koreana Woodblocks. ... , Daejeon Republic ... 4.1.6 - Comments, conclusions and / or recommendations related to boundaries and buffer zones of the World Heritage property As a World Heritage property there was no buffer zone designated at the time of inscription. However according to the National Cultural Heritage Protection Act, there are Heritage areas and protection zones designated for the site. Outside these boundaries the entire Mt. Gayasan where the temple is situated is a national park. ... Under the provisions of Article 4 of the Cultural Property Presentation Law, the Tripitaka Koreana woodblocks are designated National Treasure No 32 and the Haeinsa Changgyong P’ango (depositories) as National Treasure No 52. Article 6 of this Law, supported by Article 3 of the statutory regulations pertaining to it, designate the 1858 ha area around the temple complex, including Mount Kaya, as an Historical Site Scenic Area. These designations impose strict constraints on any change to their current status. Haeinsa Temple is also registered as a “Buddhist temple with historical significance” under the terms of Article 3 of the Traditional Buddhist Temple Preservation Law. The surrounding area is designated as Mount Kaya National Park Under Article 14 of the National Park Law, a Cultural Property Preservation Zone under Article 18 of the Urban Planning Law, and a Natural Environment Preservation zone under Article 13 of the Law of National Land Use Management. ... Act and with amendments ... made to the relevant acts mentioned above, some text needs to be modified. ... The responsible national agency is the Office of Cultural Properties of the Ministry of Culture and Sports. Collaborating institutions are the Ministry of Construction (Taegu Regional construction and Management Office), the Ministry of Home Affairs (Korea National Parks Authority), and the Ministry of Environment (Taegu Regional Office of Environment). There is no specific management plan for this ... Comment The Cultural Heritage Administration is responsible for the policy and allocation of budget for the heritage. The Cultural Heritage Division of the Hapcheon-gun County is the local office responsible for the management of the heritage and the Haeinsa Temple monks are the residents and daily managers of the heritage. ... | 4.3.10 | There is little | A comprehensive management | The management plan will be | Cultural Heritage Administration | | ... 5.3.1 - Current state of Authenticity The authenticity of the World Heritage property has been preserved ... 5.3.3 - Current state of the World Heritage property’s Outstanding Universal Value The World Heritage property’s Outstanding Universal Value has been maintained.

| The Tripitaka, or the “sutras in three baskets,” was compiled twice during Goryeo. The compilation of the first edition began in 1011, the second year of King Hyeonjong, and was completed in 1087, the fourth year of King Seonjong. The project lasted for 76 years through six reigns. However, the Mongol invaders burned the printing blocks in 1232. Compilation of the second edition began in 1236, the 23rd year of King Gojong, and was completed in 1251, the 38th year of Gojong. This second edition is the Tripitaka Koreana, which is known by the Korean name Palman Daejanggyeong (The Great Collection of Scriptures in Eighty Thousand Blocks) or Goryeo Daejanggyeong (The Great Collection of Scriptures of Goryeo). Initially, the printing blocks of this second edition were kept on Ganghwa Island, the seat of Goryeo’s wartime government. Later the woodblocks were temporarily moved to Seoul when the island became a frequent target for Japanese marauders and then in 1398, the seventh year of King Taejo of the Joseon Dynasty, to Haeinsa Temple, where they have been kept until today. Depository in Mountain Monastery Haeinsa Temple, built in 802 during the Unified Silla period, is nestled on Mt. Gaya in Hapcheon, South Gyeongsang Province. Since its founding Haeinsa has been recognized as one of Korea’s leading Buddhist monasteries. Particularly, it is known for representing one of the “three jewels of Buddhism,” that is, the Buddha, the Dharma (teachings of the Buddha), and the Sangha (community of monks who deliver the Buddha’s teachings). As it houses the Tripitaka, a collection of the Buddha’s teachings, Haeinsa is appropriately called the “Temple of Dharma.” The storage buildings for the Tripitaka Koreana are located on the highest temple grounds. The site is highly symbolic in view of the fact that the hall of the Buddha usually sits at the highest and most important spot on most other temple compounds. Moreover, Haeinsa keeps the printing blocks in perfect condition. Since wood is vulnerable to fire, moisture and insects, it is incredible that all these blocks have been successfully preserved, without a single piece showing signs of decay or warping, for the past seven and a half centuries. What is the secret behind this miraculous feat? Though the printing blocks were also made with special care to endure time and the elements, the storage buildings are the first true wonder. Tripitaka Koreana is known as the world’s finest extant Buddhist canon in Chinese script but its depository, the only one of its kind in the world, is a no less wondrous achievement of medieval science and technology. Fires and Wartime Destruction Haeinsa had seven fires between 1695, the 21st year of King Sukjong, and 1871, the eighth year of King Gojong of Joseon, but the Tripitaka archives remained completely unscathed, embellishing the mystery surrounding the seemingly simple wooden buildings. It is not known exactly when the two storage buildings, named Tripitaka Hall (Janggyeonggak), were constructed but they are evidently the oldest structures of Haeinsa, preserving the simple beauty of the wooden architecture of the early Joseon period (1392-1910). Historical records say that 46 kan, or inter-columns bays, of the archive buildings were reconstructed under orders of King Sejo in 1457, the third year of his reign. Some 30 bays were repaired with support from the royal family in 1488, the 19th year of King Seongjong. One of the two buildings, named the Storage of Sutra (Sudarajang), was repaired in 1622, the 14th year of King Gwanghaegun; the other building, named the Hall of Dharma Jewel (Beopbojeon), was repaired in 1624, the second year of King Injo. The Tripitaka depository faced yet another crisis during the Korean War of 1950-1953. The area around Haeinsa was among the fiercest battlegrounds during the internecine armed conflict. The South Korean and U.N. forces bombarded the area many times to suppress the North Korean guerrillas hiding in the mountains after being left behind by a troop withdrawal. However, the temple and the Tripitaka were miraculously saved from being reduced to ashes, thanks to people who appreciated their value. The hero now admired for his “righteous disobedience” is Air Force Colonel Kim Young-hwan. Colonel Kim was ordered to destroy Haeinsa during the anti-guerrilla campaign in September 1951. He led his squadron of jet fighters flying over the area but decided not to drop a single bomb. Kim later said during an investigation that he could not burn the nation’s invaluable cultural treasures in order to kill a few communist guerrillas. Scientific Design Utilizing Natural Conditions The depository buildings for the Tripitaka Koreana were designed to take maximum advantage of the topography of the terrain. Resting on the highest area in the temple grounds, at 655 meters above sea level on the middle of the slope of Mt. Gaya which is 1,430 meters high, the elongated wooden pavilions face the southwest so as to receive sunlight for long hours - 12 hours a day in the summer, nine hours in the spring and the autumn, and seven hours in the winter. No parts of the buildings are in permanent shade. Thus they prevent the woodblocks from getting moist or from decaying, and they keep out moss, mildew and insects. The depository consists of four buildings - the two Tripitaka archives sitting back to back with a rectangular courtyard between them, and two annex buildings standing on either end of the courtyard. The northern building is the main archive named the Hall of Dharma Jewel, and the southern building is the Storage of Sutra. The two small buildings facing the courtyard keep printing blocks for scriptures and other books published by the temple. The Tripitaka archives are both 60.44 meters long, with 15 bays on the front and two bays on the sides, and have hipped roofs. They are simple wooden structures with no decorative elements other than vertically grilled, open windows. These windows are the core devices displaying the ingenious creativity of the medieval architects. Both buildings have two rows of wooden grill windows on the front and back walls divided by a central molding. The windows differ in size, which is the essential wisdom behind the efficient adjustment of air flow and sunlight ensuring maximum ventilation, temperature and humidity control. In the case of the Storage of Sutra in the front, for example, the windows of the lower row on the front wall are about four times larger than those of the upper row, while the upper windows on the back wall are about one and a half times the size of the lower windows. In the case of the Hall of Dharma Jewel to the back, the lower windows on the front wall are approximately 4.6 times the size of the upper windows, and the upper windows on the back wall are about 1.5 times the size of the lower windows. This is apparently a plan based on the theory of hydrodynamics and air flow. The windows allow for maximum natural ventilation; fresh air is brought in through the large upper windows to circulate around the hall before escaping through the windows on the opposite side. The small lower windows on the back wall keep moisture from seeping in from the ground outside. Furthermore, the back windows of the Hall of Dharma Jewel slightly differ in size from bay to bay. This also seems to be a design element utilized to maximize the hall’s conservatory function based on empirical judgment. However, modern science has yet to answer precisely how. Another secret rests in the floors of the depository halls. Built upon thin granite foundations that facilitate smooth drainage, these buildings have clay floors with thick layers of salt, charcoal and lime underneath, which absorb excess moisture during the summer rainy season and maintain an optimum humidity level by letting out the moisture during the dry winter months. The clay walls of the buildings also help enhance these functions.

| Heritage Search Detail | Classification | National Treasure | | --- | --- | --- | | Name of Cultural Properties | Janggyeongpanjeon Depositories of Haeinsa Temple, Hapcheon | | Quantity | 4 buildings | | Designated Date | 1962.12.20 | | Age | The 19th year of the reign of King Seongjong of Joseon (1488) | | Address | Haeinsa Temple, 122, Haeinsa-gil, Gaya-myeon, Hapcheon-gun, Gyeongsangnam-do | Located on a mid-slope of Gayasan Mountain, Haeinsa Temple was established in 802 under the auspices of King Aejang (r. 800-809) of the Unified Silla, who believed that Buddha had helped his queen recover from her illness. As the Temple of Dharma, one of the three-jeweled temples in Korea, it houses a huge collection of about 80,000 Tripitaka Koreana woodblocks.The two buildings used to store the Tripitaka Koreana woodblocks in Haeinsa Temple are known to be the oldest of all the buildings currently standing in the temple, although no specific dates are given regarding their construction. Undergoing major renovation in 1457, the buildings were rebuilt in 1488 under the supervision of Buddhist Monk Hakjo and with the support of the royal family and named Boandang. Their location in a remote mountainous area helped the buildings remain safe during the Japanese Invasion of Korea in 1592 and maintain their original structures. Records show that the depositories underwent two more renovation works in 1622 and 1624.The two buildings, each with 15 bays on the front and 2 bays on the sides, stand side by side, one (called Sudarajang Depository) in the south and the other (Beopbojeon Hall) in the north. There are two small book storages in the east and west; thus forming a rectangular courtyard with the woodblock depositories. The buildings are designed such that they could best fulfill their functions as depositories of woodblocks; thus, all the extra decorative elements were removed. Each depository has two rows of windows in different sizes -- one on the front and the other on the rear -- designed to ensure effective natural ventilation. The earthen floor is laid over layers of powdered charcoal, lime, salt, and sand; thus effectively controlling moisture in a natural manner. Experts believe that these depositories have been able to exploit the natural condition surrounding them in a creative manner to provide scientifically effective condition for the preservation of the Tripitaka Koreana woodblocks for such a long period. These 15th century buildings are the world’s only structures built for the storage of Tripitaka printing woodblocks whose cultural uniqueness and value landed them in UNESCO’s list of world heritage sites.

The Temple of Haeinsa, on Mount Gaya, is home to the *Tripitaka Koreana* , the most complete collection of Buddhist texts, engraved on 80,000 woodblocks between 1237 and 1248. The buildings of Janggyeong Panjeon, which date from the 15th century, were constructed to house the woodblocks, which are also revered as exceptional works of art. As the oldest depository of the *Tripitaka* , they reveal an astonishing mastery of the invention and implementation of the conservation techniques used to preserve these woodblocks. ... The Janggyeong Panjeon in the Temple of Haeinsa, on the slopes of Mount Gayasan, is home to the *Tripitaka Koreana*, the most complete collection of Buddhist texts, laws and treaties extant, engraved on approximately 80,000 woodblocks between 1237 and 1248. The Haeinsa *Tripitaka* woodblocks were carved in an appeal to the authority of the Buddha in the defense of Korea against the Mongol invasions. They are recognized by Buddhist scholars around the world for their outstanding accuracy and superior quality. The woodblocks are also valuable for the delicate carvings of the Chinese characters, so regular as to suggest that they are the work of a single hand. The Janggyeong Panjeon depositories comprise two long and two smaller buildings, which are arranged in a rectangle around a courtyard. As the most important buildings in the Haeinsa Temple complex, they are located at a higher level than the hall housing the main Buddha of the complex. Constructed in the 15th century in the traditional style of the early Joseon period, their design is characterized by its simplicity of detailing and harmony of layout, size, balance and rhythm. The four buildings are considered to be unique both in terms of their antiquity with respect to this specialized type of structure, and for the remarkably effective conservation solutions that were employed in their design to protect the woodblocks from deterioration, while providing for easy access and storage. They were specially designed to provide natural ventilation and to modulate temperature and humidity, adapted to climatic conditions, thus preserving the woodblocks for some 500 years from rodent and insect infestation. The Haeinsa Temple complex is a famous destination for pilgrimages, not only among Korean Buddhists, but Buddhists and scholars from all over the world. **Criterion (iv): **The depositories of the Haeinsa Temple are unique both in terms of their antiquity so far as this specialized type of structure is concerned, and also for the remarkably effective solutions developed in the 15th century to address the problem of storing and conserving the 80,000 woodblocks used to print the Buddhist scriptures (*Tripitaka Koreana*) against deterioration. **Criterion (vi): **The ... of 13th ... *Tripitaka Koreana* ... , occupy an exceptional position in the ... corpus of Buddhist ... All components of the Haeinsa Temple complex, including the Janggyeong Panjeon and the *Tripitaka Koreana* woodblocks, are included within the boundaries of the designation. ... Haeinsa Temple is owned by the Korean Buddhist Jogye Order. The Daejanggyeongpan (*Tripitaka Koreana* Woodblocks) and the Janggyeong Panjeon (the depositories) have been designated as National Treasures, under the Cultural Heritage Protection Act. The entire area of Haeinsa Temple is designated as a Historic Site and a 2,095 ha area around the temple complex including Mount Gayasan, is designated as a Scenic Site under the same Act. The entire area of Mount Gayasan surrounding the temple is designated and protected as a National Park by the Natural Parks Act, which acts as a buffer zone to the cultural heritage. Haeinsa Temple is also registered as a ‘Buddhist Temple with historical significance’ under the Traditional Buddhist Temple Preservation Law. These designations impose strict constraints on alterations to the property and buffer zone. ... **Republic of Korea** **Date of Inscription:** 1995 **Criteria: **(iv)(vi) **Dossier:** 737

1.8 - Other designations / Conventions under which the property is protected (if applicable) Comment Entire area of the Haeinsa Temple and Mt. Gayasan is protected as a National Park of Korea. 1.2 - World Heritage Property Details State(s) Party(ies) Korea, Republic of Type of Property cultural Identification Number 737 Year of inscription on the World Heritage List 1995 ... Statement of Significance The World Heritage Committee inscribed this site on the World Heritage List on the basis of criteria (iv) and (vi), in recognition that the Korean version of the Buddhist scriptures (Tripitaka Koreana) at the Haeinsa Temple is one of the most important and most complete corpus of Buddhist doctrinal texts in the world, and is also outstanding for the high aesthetic quality of its workmanship. The buildings in which the scriptures are housed are unique both in terms of their antiquity so far as this specialized type of structure is concerned, and also for the remarkably effective solutions developed in the 15th century to the problems posed by the need to preserve woodblocks against deterioration. ... 2.2 - The criteria (2005 revised version) under which the property was inscribed (iv)(vi) 1.5 - Governmental Institution Responsible for the Property  2.3 - Attributes expressing the Outstanding Universal Value per criterion (iv) The Janggyeongpanjeon, depositories for the Tripitaka Koreana woodblocks (vi) Haeinsa Temple as the Dharma Temple of Korean Buddhism, and the Tripitaka Koreana Woodblocks. ... and / or ... related to boundaries and buffer ... of the World Heritage property As ... World Heritage property there was no buffer zone ... inscription. However according ... National Cultural Heritage Protection Act, there are Heritage areas and protection zones designated for the site ... Outside these boundaries the entire Mt ... Gayasan where the temple is situated is a national ... Under the provisions of Article 4 of the Cultural Property Presentation Law, the Tripitaka Koreana woodblocks are designated National Treasure No 32 and the Haeinsa Changgyong P’ango (depositories) as National Treasure No 52. Article 6 of this Law, supported by Article 3 of the statutory regulations pertaining to it, designate the 1858 ha area around the temple complex, including Mount Kaya, as an Historical Site Scenic Area. These designations impose strict constraints on any change to their current status. Haeinsa Temple is also registered as a “Buddhist temple with historical significance” under the terms of Article 3 of the Traditional Buddhist Temple Preservation Law. The surrounding area is designated as Mount Kaya National Park Under Article 14 of the National Park Law, a Cultural Property Preservation Zone under Article 18 of the Urban Planning Law, and a Natural Environment Preservation zone under Article 13 of the Law of National Land Use Management.

Sansa, Buddhist Mountain Monasteries in Korea (Republic of Korea) ... 1. Having examined Documents WHC/18/42.COM/8B and WHC/18/42.COM/INF.8B1, 2. Inscribes **Sansa, Buddhist Mountain Monasteries in Korea, Republic of Korea**, on the World Heritage List on the basis of **criterion (iii)**; 3. Takes note of the following provisional Statement of Outstanding Universal Value: ... Sansa are Buddhist mountain monasteries located throughout the Korean Peninsula. Seven temples – Tongdosa, Buseoksa, Bongjeonsa, Beopjusa, Magoksa, Seonamsa and Daeheungsa – established in the 7th to 9th centuries represent these ancient and continuing centres of spiritual practice. The seven temples have historical associations with different schools of Buddhist thought and contain many individually notable historic structures, objects and documents, shrines and halls. The specific intangible and historical aspects of Korean Buddhism are based on the time-depth and continuity of the mountain monasteries, and the traditions of temple managements, education of monks, Seon meditative practices and doctrinal study. The spatial arrangement within the monasteries reflect these characteristics, as well as the requirements for the self-reliance of monastic communities. They commonly include one or more ‘madang’ (open yard), flanked on four sides by structures (Buddha Hall, pavilion, lecture hall and dormitory), and natural mountain settings. The mountain monasteries have survived to the present as living centres of faith and daily practice despite centuries of suppression during the Joseon Dynasty, and the impacts of Japanese invasion in the late 16th century. ... Daeheungsa – offer ... Together the seven temples contain the elements necessary to express the Outstanding Universal Value of Korean Buddhist mountain monasteries, including their mountain settings, well-preserved buildings for religious practice and daily living, worship halls and shrines, meditation areas, monastic academy spaces and dormitories for monks. Few pressures threaten the components and they are intact, free of major losses and alterations during the modern period, and retain their original functions, despite changes through history. ... The seven temples are all being protected and managed as State or City/Province designated Cultural Heritage under the Cultural Heritage Protection Act;. Modern constructions to facilitate continuing use and developments around the temples are strictly controlled. Each of the seven components is also protected by the Korean Traditional Temples Preservation and Support Act. Cultural Heritage Zones and Historical and Cultural Environment Protection Zones established by the Cultural Heritage Protection Act are in place for each of the components and their buffer zones. The Cultural Heritage Protection Act applies within areas of 500-metres of the outer boundary of each Cultural Heritage Zone. Heritage Impact Assessments are prepared within the provisions of the Cultural Heritage Protection Act. Each temple has various designated elements (including artworks, relics and architecture) at the national or provincial level.

Daemokjang complies with the definition of the intangible heritage in Article 2, Clause 1 of the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage as ‘knowledge, skills’ transmitted from generation to generation. Mokjang or moksu is a traditional Korean term for artisans who deal with wood. Among the jobs of mokjang, daemok refers specifically to the building of wooden architecture, such as palaces, temples and houses. Woodworkers who engage in daemok are called daemokjang. Daemokjang use traditional materials and techniques in the process of construction. The work of daemokjang constitutes ‘e) traditional craftsmanship,’ ... Mokjang is a traditional Korean term for artisans who deal with wood. Mokjang are divided into somokjang and daemokjang. Somokjang refers to those who make small-scale wooden objects, while daemokjang are those who build large-scale buildings. Daemokjang are in charge of the entire construction process. Thus, the skills of daemokjang can only be acquired through decades of education and field experience. Traditional Korean wooden architecture inscribed on the UNESCO World Heritage List, including Changdeokgung Palace and Bulguksa Temple, were constructed under the command of daemokjang. The inscription of these architectural treasures on the List indicates that they are appreciated not as mere buildings, but as artworks with universal value. Moreover, these traditional constructions have long served as a symbol that represents the Korean identity. Thus, daemokjang practitioners are recognized as successors and preservers of Korean traditional architecture. This recognition plays a significant role in forming the identity of daemokjang. Traditional construction work requires the abilities of both scientists and artists. Daemokjang practitioners work to restore monumental buildings using traditional techniques, and re-create traditional architecture using their artistic talent. With their scientific and artistic techniques, daemokjang will contribute to the re-creation of woodworking traditions around the world. ... Mokjang or moksu is a traditional Korean term for artisans who deal with wood. Among the jobs of mokjang, daemok refers specifically to the building of wooden architecture, such as palaces, temples and houses. Woodworkers who engage in daemok are called daemokjang. The term daemokjang also refers to traditional wooden architecture. Daemokjang apply traditional skills and knowledge to construction. Thus, daemokjang complies with the definition of the intangible heritage in Article 2, Clause 1 of the Convention as ‘knowledge, skills’. In addition, they use traditional materials and techniques. Thus, daemokjang constitutes ‘e) traditional craftsmanship,’ as defined in Article 2, Clause 2 of the Convention. Mokjang are divided into somokjang and daemokjang. Somokjang refers to those who make small-scale wooden objects, such as chests, cabinets, desks, dining tray-tables, and wardrobes. Daemokjang are those who build large-scale buildings, such as wooden palaces, temples and houses. Daemokjang are in charge of the entire construction process: planning, design and construction of buildings, and supervision of subordinate carpenters. Thus, the skill of daemokjang cannot be acquired in a short period of time. It takes decades of education and field experience. Wooden architecture has a long history in Korea. Among the best examples are Changdeokgung Palace and Bulguksa Temple, which are inscribed on the UNESCO World Heritage List. These architectural treasures were constructed under the command of daemokjang. In this sense, traditional Korean wooden architecture, built and restored with the skills and knowledge of daemokjang, are appreciated not as mere buildings, but as works of art. Recognition and identity Daemokjang is an example of Korean intangible cultural heritage. The knowledge and skills of daemokjang practitioners are recorded in historical documents, and verified in actual buildings. These practitioners are recognized as successors of the cultural heritage of traditional architecture. Daemokjang skill holders make efforts beyond preserving and transmitting the skills of traditional architecture. Their activities extend to the maintenance, reparation, and reconstruction of historic buildings, ranging from traditional Korean houses to national treasures. Thus, they are recognized as the guardians of traditional Korean architecture. All in all, daemokjang are recognized as successors, symbols, and preservers of the traditional architecture of Korea. This recognition plays a significant role in forming the identity of daemokjang. Transmission and reinvention The know-how of daemokjang has long been handed down from generation to generation. However, in the midst of the intense industrialization and westernization of Korea, traditional wooden architecture began to disappear. In response to this shift, the Korean government searched for outstanding daemokjang skill holders, and took measures to protect their skills. The government finally designated daemokjang as Important Intangible Cultural Heritage No. 74 on June 1, 1982. Daemokjang practitioners are committed to maintaining traditional techniques, and to creating new architecture based on traditional methods. Their efforts are widely recognized in Korea. They take great pride in preserving traditional Korean wooden architecture. Daemokjang practitioners are transmitting their skills without violation of any existing international human rights agreements. Socio-cultural function Daemokjang is an intangible cultural heritage that has developed within the natural and cultural environment of Korea. The skills and knowledge of daemokjang play a pivotal role in continuing the tradition of Korean architecture. Impressive palaces, temples, and traditional Korean houses built with the skills and knowledge of daemokjang have long served as symbols of Korean identity. Daemokjang have served the socio-cultural functions of preserving traditional architecture, embodying the traditional cultural heritage, and maintaining Korean identity. Characteristics of the skill holders and practitioners Daemokjang was designated Important Intangible Cultural Heritage No. 74. Currently, three skill holders and two heritage trainers are recognized by the Korean government. All of the skill holders show strong commitment to preserving and transmitting their skills. They actively train disciples, and ... Daemokjang is an Important Intangible Cultural Heritage designated and maintained by the Korean government. The official designated name is ‘Daemokjang, Important Intangible Cultural Heritage No. 74’. The historical, artistic, and academic value of daemokjang was recognized as intangible heritage and was designated an Important Intangible Cultural Heritage on June 1, 1982. Prior to the designation, the Cultural Heritage Committee research teams carried out academic research on daemokjang in 1981, and the Committee gave careful consideration to daemokjang in 1982. Since the designation of daemokjang as Important Intangible Cultural Heritage, the inventory of daemokjang elements has been maintained through continuous efforts in successor training and monitoring. Thus, the state party has fulfilled its safeguarding role for daemokjang, to ‘identify and define the various elements of the intangible cultural heritage, present in its territory with the participation of communities, groups and relevant non governmental organizations’, as listed in Article 11 (b) in the Convention. Regular update of inventories, as prescribed in Article 12 of the Convention, is executed by the Korean government under Article 45 (regular monitoring) of the Cultural Heritage Protection Act. The Act regulates the updating of relevant lists, based on the regular monitoring of the intangible cultural heritage.

1. Takes note that the Republic of Korea has nominated Talchum, mask dance drama in the Republic of Korea (No. 01742) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity: ... 2. Considers that, from the information included in the file, the nomination satisfies the following criteria for inscription on the ... List of the Intangible Cultural ... R.1: Talchum is manifested through the oral traditions, performing arts, social practices and rituals of its dances, music and theatre and the traditional craftsmanship associated with crafting the masks. The bearers and practitioners of the element include individual practitioners who are affiliated with safeguarding associations. The skills related to the dances, songs, dialogue and crafting are transmitted through the practitioners and the safeguarding associations. The broader general public can be involved by learning talchum at public educational institutions and practising it as a pastime. Both men and women can actively participate in the practice and transmission of the element. The themes of talchum highlight values of universal equality and criticisms of rigid social hierarchy, which remain relevant today. Talchum serves as a defining symbol of cultural identity for the local areas where it is practised. ... R.3: The nomination file explains that the communities' past and current safeguarding measures are carried out through 18 officially recognized talchum safeguarding associations, and that documentation was carried out by researchers. There are also efforts to promote the element through regular performances and the organization of the Youth Mask Dance Festival. The State Party supports these efforts financially as well as through promotion, education, capacity-building workshops and documentation. The proposed safeguarding measures include establishing an International Mask Culture Archive, exchange programmes, events and other safeguarding efforts that will be implemented by the International Mask Arts and Culture Organization. The General Federation of Mask Dance Safeguarding Associations will play a critical role in the safeguarding and transmission of talchum following its inscription. Practitioners will also play a leading role in implementing these proposed safeguarding measures. ... R.5: The element is included on the National Intangible Cultural Heritage List, which is maintained by the Intangible Cultural Heritage Division of the Cultural Heritage Administration. The element is also included on various provincial-level inventories. The identification of elements for the inventories involves communities, groups and individuals who practise a particular intangible cultural heritage element or researchers who study and survey the element. The national and provincial intangible cultural heritage inventories are updated through periodic surveys every five years, as mandated by the Act on the Safeguarding and Promotion of Intangible Cultural Heritage. 3. Decides to inscribe Talchum, mask dance drama in the Republic of Korea on the Representative List of the Intangible Cultural Heritage of Humanity;

1. Takes note that the Republic of Korea has nominated Nongak, community band music, dance and rituals in the Republic of Korea (No. 00717) for inscription on the Representative List of the Intangible Cultural Heritage of Humanity: Nongak is a popular performing art derived from communal rites and rustic entertainments. It has evolved into a representative performing art of the Republic of Korea, combining a percussion ensemble and sometimes wind instruments, parading, dancing, drama and acrobatic feats. Local Nongak performers clad in colourful costumes perform their music and dance during community events with various purposes, such as appeasing gods, chasing evil spirits, praying for a rich harvest in spring then celebrating it during autumn festivals and fund-raising for community projects. There are distinctive regional styles of Nongak, generally divided among five cultural centres. Within each area, differences exist from one village to another in band composition, performing style, rhythm and costumes. Dancing includes choreographic formations and streamer dances while actors wearing masks and peculiar outfits also perform funny skits. Acrobatics include dish spinning and miming antics by child dancers carried on the shoulders of adult performers. The public becomes familiar with Nongak through observation and participation in its performances, while community groups and educational institutions play an important role in teaching and transmitting the different components. Nongak helps to enhance solidarity and cooperation in the community and establishes a sense of shared identity among community members. 2. Decides that, from the information included in the file, the nomination satisfies the following criteria for inscription on the Representative List: R.1: Nongak is a multifunctional and multiform element performed on various festive occasions throughout the year; characterized by vitality and creativity, it has been integrated into contemporary culture and people’s everyday life in line with the evolution and modernization of society, providing its performers and participants with a sense of identity; ... Its inscription on the ... visibility of the ... cultural heritage as a testimony to ... a contribution to ... could also facilitate dialogue ... national and international ... R.3: Proposed safeguarding measures are characterized by cooperation between the State and the communities concerned and are oriented towards raising awareness, support in the organization of Nongak performances, documentation, but also the prevention of possible negative consequences of commercialization and touristic exploitation that might be created by its inscription on the Representative List; ... R.5: A number of regional variations of Nongak have been designated as ‘Important Intangible Cultural Heritage’ by local governments and six representative versions are included in the State Inventory of Intangible Cultural Heritage maintained by the Cultural Heritage Administration. 3. Inscribes Nongak, community band music, dance and rituals in the Republic of Korea on the Representative List of the Intangible Cultural Heritage of Humanity.

Inventory of National Intangible Cultural Heritage of Republic of KOREA *Missing numbers are the intangible cultural heritages, revoked or integrated to similar heritages. *Descriptions on the national intangible cultural heritages have been uploaded on the official website of the Cultural Heritage Administration in Korean only. It is for that reason that the description of the element (Ssireum) is translated in English and attached at the end of this file. ... ##### Description on Ssireum ... National Intangible Cultural Heritage 131 Ssireum(Korean Wrestling) 2017.01.04. N/A N/A Korea Ssireum Association Ssireum(Korean Wrestling is a traditional Korean folk sport in which two wrestlers, each holding the other's satba(belt), strive to beat their opponent by bringing his body to the ground. Based on the Korean people's unique community culture, various forms of the sport have handed down until today. As a representative folk game of Korea, the historicity of Ssireum has been clearly identified through diverse relics, documents, and paintings ranging from the ancient Three Kingdoms period to the modern era. In addition, the composition of the match and the techniques of Ssireum express the uniqueness of Korean wrestling. I

The safeguarding issues related to intangible cultural heritage (hereafter ICH) have drawn international attention through UNESCO’s initiatives. The 10th anniversary of the proclamation of the Convention for the Safeguarding of the ICH was celebrated during the course of 2013. From the beginning of the Convention, there have been debates over the pros and cons among the State Parties but nonetheless 155 states have joined the Convention as of July 2013. The complete assessment of UNESCO’s achievements over the past ten years is beyond the capacity of this article, but we can point to two significant accomplishments. There has been an increase in the awareness of the importance of ICH in enhancing human creativity and cultural diversity. Furthermore, the Convention provides the member states with concrete measures that can be employed in order to safeguard ICH, which has been disappearing rapidly as modernisation and industrialisation processes grow within the developing countries. One of the crucial methods of safeguarding ICH is to make inventories of cultural elements through the use of oral and visual devices. The recording process has been enhanced by UNESCO’s inventory workshops which provide guidelines and directives, and by many educational seminars. Drawing upon UNESCO’s ICH safeguarding policy, Korea’s Cultural Heritage Administration initiated a digital inventory project in 2010. A group of researchers joined this project and developed a new experimental inventorying methodology for ICH utilising a new concept of collective intelligence and advanced information technologies. The research team established Ichpedia, a web-based ICH encyclopedia and archive in Korea. We participated in this project as team managers of the digital archive system. Here, we will present a new paradigm of safeguarding methods through digital platforms and technology. ... processes. Since many examples of ICH are closely related to everyday lifestyles, practices, and ideas, subtle changes and disappearances may not be readily apparent. Thus, computerised devices can record the current condition of particular examples of ICH and make it easier to keep track of any future changes. Thirdly, our Ichpedia project with its digital innovations encourages voluntary participation on the part of ICH communities. The communities of ICH have direct access to the system and can record certain ICH elements on a voluntary basis. It is completely the communities’ own decision whether or not to participate in the recording process. They have access to some guidelines and support in order to input their own information with various source materials and assistance from the Ichpedia team. Fourthly, the recording processes are a way of safeguarding ICH. In this process the community members are able to raise their own awareness of its importance, not just for external groups but for their own community. In particular, the use of digital technology is an efficient way to increase people’s awareness of ICH and to share information. Focusing on such advantages, dynamism and efficiency, the methodology of digital recording of ICH is here presented. Fifthly, Ichpedia reduces the cost of establishing a highly efficient database system. It is easy and simple but yet offers high efficiency compared to other web-based ICH encyclopedias worldwide. Ichpedia has the advantage of being the least expensive option for the development and maintenance of such a system. It is hoped that Ichpedia will pave the way for digital innovation in the area of ... Our research team carried out the survey, fieldwork and research for Korea’s ICH from 2010 to 2012. The research consisted of creating a new format for inventorying, a classification system and a web-based platform that would comply with the safeguarding policy of the 2003 UNESCO Convention. The Convention advises that the relevant communities, groups and individuals must play major roles in instituting safeguarding measures and in the inventorying process. This approach requires a new epistemology of ICH and a methodology for collecting the related elements in the Korean context. Unlike the top-down approach of the past, the community’s active involvement - which can be characterised as the ‘bottom-up’ approach - has several merits. First of all, it helps members of communities regain their identity by inventorying their own cultural heritage. With the community’s voluntary participation, we are able to find hitherto unknown examples of cultural heritage and can publicise our findings. During this process, there are many opportunities for more discussions and networking between the community members and outside researchers and administrators. Eventually the outside researchers and administrators who are interested in ICH issues will be able to formulate better ideas for the development of safeguarding measures for examples of ICH before they disappear. It also allows external access to the diversified culture beyond the preconceived notions of ICH, expanding the range of a fixed definition. If it is the case that the relevant community is located in a remote area, external support can more easily reach such a community than before for devising protection plans. ... Ichpedia has been designed to record and retain dynamic features of ICH through the use of multi-media resources. Intangible features of cultural heritage are difficult to record using only interviews and written texts. Performances, rituals, oral traditions, skills, arts, religion and even knowledge exist within the realm of, and in connection with people’s activities, thoughts and beliefs. One of the characteristics of ICH is that it is not static but is mobile and alive. Thus it is crucial to record the whole performance, ritual or working process of what people do. In this case, recording means not only making textual records, but also audio and visual ones by establishing a digital archive system which allows the management of a large amount of the intangible heritage information and resources collected. The digital archive system is called the Ichpedia Digital Archives (IDA) and it is an important part of the Ichpedia system. The basic database structure of the Ichpedia system consists of four main table groups: Ichpedia tables, Archives tables, Categories tables and Ontology tables, as shown in (Figure 2). Due to the growing trend of global standardisation in web-based software, Ichpedia adopted the international standard in software programmes and meta-data. This increases the flexibility of applications. For example, the attributes of two tables in the Archives tables in (Figure 3) follow the Dublin-Core metadata standard in order to allow the ICH resources to be shared internationally. In addition, the composition of Ichpedia tables is based on the attributes needed in the process of inventorying guided by the UNESCO Convention. To this extent, Ichpedia can be operated without difficulty in other countries as well. In many countries, including Korea, industrialisation and urbanisation continue to affect traditional culture and, in particular, intangible features of culture. As one of the safeguarding methods, the recording and archiving of the current features of people’s arts, skills and knowledge, together with their voices and non-verbal expressions, detailed ritual processes and performances, not to mention the everyday lives of the practitioners, are indispensable. ... Another important analytical feature of Ichpedia is the way in which the inventories are categorised by domains. There are seven domains of ICH in Korea: 1. oral traditions and expressions 2. traditional health care, agricultural and fishing knowledge [TK and P I] 3. food, clothing and housing and traditional customs [TK and P II] 4. performing arts 5. social practices, rituals and festive events 6. folk belief and social rituals [TK and P III] 7. traditional craftsmanship.

Royal ancestral ritual in the Jongmyo shrine and its music - UNESCO Intangible Cultural Heritage ... The Jongmyo Shrine in Seoul is the setting for a Confucian ritual dedicated to the ancestors of the Joseon dynasty (14th to the 19th century) that encompasses song, dance and music. The ritual is practised once a year on the first Sunday in May and is organized by the descendants of the royal family. It offers a unique example of a Confucian ritual, which is no longer celebrated in China. The tradition is inspired by classical Chinese texts concerning the cult of ancestors and the notion of filial piety. It also includes a prayer for the eternal peace of the ancestors’ spirits in a shrine conceived as their spiritual resting place. The order of the ceremony was defined in the fifteenth century and most elements have remained unchanged until today. During the rite, the priests, dressed in ritual costume with a crown for the king and diadems for the others, make offerings of food and wine in ritual vessels. The Jongmyo Jerye is music played to accompany the rituals and is performed on traditional instruments, such as gongs, bells, lutes, zithers and flutes. The dances are performed by 64 dancers in 8 lines representing the opposing yet complementary forces of Yin and Yang as set out in the Confucian texts.The Munmu dance, accompanied by the harmonious and soothing Botaepyong music, is characterized by a first step to the left. While the Munmu dance symbolizes the force of the Yang, the Mumu dance, accompanied by Jeongdaeeop music and characterized by a movement to the right, represents the force of the Yin. The ancestral ritual is nowadays often considered to be devoid of meaning, especially in the context of the growing importance of Christianity. However, the ritual and its music are protected through the National List of Intangible Heritage and the 1982 Law for the Protection of Cultural Property.

Pansori epic chant - UNESCO Intangible Cultural Heritage ... Inscribed in 2008 (3.COM) on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2003) ... Pansori is a genre of musical storytelling performed by a vocalist and a drummer.This popular tradition, characterized by expressive singing, stylized speech, a repertory of narratives and gesture, embraces both elite and folk culture. During performances lasting up to eight hours, a male or female singer, accompanied by a single barrel drum, improvises on texts that combine rural and erudite literary expressions. The term Pansori is derived from the Korean words pan, meaning “a place where many people gather”, and sori meaning “song”. Pansori originated in south-west Korea in the seventeenth century, probably as a new expression of the narrative songs of shamans. It remained an oral tradition among the common people until the late nineteenth century, by which time it acquired more sophisticated literary content and enjoyed considerable popularity among the urban elite. The settings, characters and situations that make up the Pansori universe are rooted in the Korea of the Joseon period (1392-1910). Pansori singers undergo long and rigorous training to master the wide range of distinct vocal timbres and to memorize the complex repertories. Many virtuosos have developed personal interpretive styles and are renowned for their particular manner of performing specific episodes. Threatened by Korea’s rapid modernization, Pansori was designated a National Intangible Cultural Property in 1964. This measure spurred generous institutional support, which in turn fostered the revival of this tradition. Although Pansori remains one of the most prominent genres among traditional stage arts, it has lost much of its original spontaneous character. Ironically, this recent evolution is a direct result of the preservation process itself, for improvisation is tending to be stifled by the increasing number of written texts. Indeed, few singers nowadays can successfully improvise, and contemporary audiences are less receptive to the impromptu creativity and language of traditional Pansori.

Jongmyo Jeryeak (Royal Ancestral Ritual Music in the Jongmyo Shrine) - Heritage Search | Cultural Heritage Administration ... Jongmyo Jeryeak (Royal Ancestral Ritual Music in the Jongmyo Shrine) ... | Heritage Search Detail | Classification | National Intangible Cultural Heritage | | --- | --- | --- | | Name of Cultural Properties | Jongmyo Jeryeak (Royal Ancestral Ritual Music in the Jongmyo Shrine) | | Quantity | | Designated Date | 1964.12.07 | | Age | | Address | Seoul | Jongmyo Jeryeak was performed at the Jongmyo Shrine during ceremonies held for the eternal repose of the ancestors of Joseon’s kings. Each procedure of the ceremony involved the performance of various pieces of music, such as Botaepyeong and Jeongdaeeop, to praise the royal ancestors' virtues, and dances such as Botaepyeong and Jeongdaeeop. The music was originally composed in 1447, during the reign of King Sejong, for performance at royal banquets, but was modified in 1464, during the reign of King Sejo, for performance at memorial rites held to honor the royal ancestors of the dynasty. The ritual performance of music and dance, consisting of eleven works for each Botaepyeong and Jeongdaeeop, is still held on the first Sunday of May. This valuable heritage, which has been handed down for almost 600 years, is now at the top of Korea’s Important Intangible Cultural Heritage list and has been inscribed on the UNESCO's Representative List of Intangible Cultural Heritages of Humanity.

Royal ancestral ritual in the Jongmyo shrine and its music | Royal Ancestral Ceremony at JongmyoSt ... and Prosperity | ... | Gods, or supernatural beings, are not recognized in Confucianism, but instead ancestral spirits are venerated as objects of divine worship. As an absolute monarchy that upheld Confucianism as its ruling ideology, the Joseon Dynasty placed utmost importance on worshipping the spirits of royal ancestors. Therefore, Jongmyo which housed the spirit tablets of past kings and queens was the loftiest pantheon, and the rites performed at this royal shrine were the state events of primary importance. | | --- | | Throughout the five-century rule of Joseon, the major regular rites at Jongmyo were conducted five times a year - on the most auspicious day during the first month in each of the four seasons and the twelfth month. In addition, irregular rites were held to report important events in the royal household and the country to the royal ancestral spirits. The rites were drastically simplified during the colonial period (1910-1945). Even these brief rites of “mere incense burning” were suspended during the chaotic post-liberation years. In 1969 the Jeonju Yi Clan Association, consisting of descendants of the royal family of Joseon, began holding the rites once a year on the first Sunday of May. Hence, despite the dynasty’s demise, the royal ancestral rites have been performed for over 600 years. | | The solemn state rites conducted by the king were prepared with the utmost care and devotion, and each ritual step was executed with strict formality. Preparations began days ahead with all the participants purifying their bodies and minds so that no impure elements could taint the holy procedures. On the day of the rites the ritual officiants, musicians and dancers donned ceremonial robes with different colors, patterns and accessories according to their rank and roles. Hundreds of officiants were assigned to perform the 27 different roles needed for the elaborate rites. | | --- | | Vessels in an array of shapes and decorative patterns, each containing a symbolic meaning, were used for the rites. The vessels also differed in alignment, depending on the season and usage. Sixty-three types of vessels were needed to offer all kinds of grains, rice cakes, soups, meat dishes, fruits, dried meat, pickled fish, and drinks, as provided in the ritual manuals. The rites proceed with inviting and welcoming the royal ancestral spirits, serving food and wine to entertain the spirits, and finally bidding farewell to them. | ... | Confucianism emphasized the role of music in cultivating virtuous human character as well as promoting the unity of gods and man, heaven and earth, and yin and yang. Accordingly, music and dance are indispensable for each phase of the rites to celebrate the civil and military achievements of preceding kings and invoke the prosperity of the royal household. | | --- | | The solemn song suites for the rites at Jongmyo were composed by King Sejong, the fourth ruler of Joseon, in the 15th century to replace Chinese music and instruments that had been played at royal ancestral rites since the 12th century Goryeo period. Sejong, who also created the Korean script, Hangeul, believed that playing foreign music was improper for rites honoring ancestors who had enjoyed native Korean music during their lifetime. | | --- | | The majestic and solemn rites at Jongmyo have represented the culture of the Joseon royal household as well as the nation’s time-honored tradition of filial piety expressed in the daintiest style. The rites have attained a high standard of austere aestheticism while they have been devotedly conducted over six centuries. The superb architectural space, the stern ritual procedures, the graceful music and dance - all these succinctly combined to create a sublime ceremony for spiritual communion between the living and the dead. Today, the royal ancestral ceremony at Jongmyo is recognized as the world’s only traditional Confucian ritual preserving its venerable, authentic style. | | --- |

Culture of Jeju Haenyeo (women divers) - UNESCO Intangible Cultural Heritage ... Inscription: 11.COM 10.b.24 ... Inscribed in 2016 (11.COM) on the Representative List of the Intangible Cultural Heritage of Humanity ... In Jeju Island, there is a community of women, some aged in their 80s, which goes diving 10m under the sea to gather shellfish, such as abalone or sea urchins for a living without the help of oxygen masks. With knowledge of the sea and marine life, the Jeju haenyeo (female divers) harvest for up to seven hours a day, 90 days of the year holding their breath for just one minute for every dive and making a unique verbal sound when resurfacing. Divers are categorised into three groups according to level of experience: hagun, junggun and sanggun with the sanggun offering guidance to the others. Before a dive, prayers are said to the Jamsugut, goddess of the sea, to ask for safety and an abundant catch. Knowledge is passed down to younger generations in families, schools, local fishery cooperatives which have the area’s fishing rights, haenyeo associations, The Haenyeo School and Haenyeo Museum. Designated by the provincial government as representating the island’s character and people’s spirit, the culture of Jeju haenyeo has also contributed to the advancement of women’s status in the community and promoted environmental sustainability with its eco-friendly methods and community involvement in management of fishing practices.

Haenyeo (Women Divers) - Heritage Search | Cultural Heritage Administration -- ... National Intangible Cultural Heritage Haenyeo (Women Divers) ... | Heritage Search Detail | Classification | National Intangible Cultural Heritage | | --- | --- | --- | | Name of Cultural Properties | Haenyeo (Women Divers) | | Quantity | | Designated Date | 2017.05.01 | | Age | | Address | Haenyeo, or women divers, are living testimony to a traditional Korean method of ocean farming and harvesting. They embody a sense of community transcending the limits of time. Their practice reflects the utmost respect for humanity and nature as well as profound wisdom on the sustainable use of common goods and the sharing of resources.The history of women divers dates back to at least before the 17th century based on records found in a document from that era on Jeju Island. The work of haenyeo, referred to as muljil in Korean, is a traditional Korean form of seafood harvesting with few parallels anywhere else in the world. In addition, their activities demonstrate considerable knowledge of ecology and personify a spirit of cooperation with and consideration for their fellow haenyeo. The women divers have also collectively created a unique form of culture defined by their religious beliefs and ritual ceremonies. Recognizing this historical, artistic, and cultural value of the culture associated with women divers, it has been designated as National Intangible Cultural Heritage. * The "Culture of Jeju Haenyeo (Women Divers)" was entered onto the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2016. * As the practice of haenyeo diving is mostly about group activities and community collaboration, this element has been designated as National Intangible Cultural Heritage with no particular individuals or groups recognized as holders.

Culture of Jeju Haenyeo (Women Divers) The Culture of Jeju Haenyeo exists throughout Jeju Island. And it includes the practitioners of diving work which are called hanyeo in general or jamnyeo or jamsu; Muljil, the diving work transmitted from a mother to a daughter and from a mother-in-law to a daughter-in-law; jamsugut, a shamanistic ritual for the goddess of the sea; and Haenyeo Norae(or Haenyeo Song) A Jeju haenyeo has her mental map of sea, including the reefs and the habitat for the shellfish. By repeated diving over a long time, such a map and the knowledge have been acquired. On average, Jeju haenyeo hold their breath for one minute which diving then meters deep underwater to gather marine products. Based on the diving skills, the Jeju haenyeo community is classified into three types: the upper -skilled called sanggun, the middle-skilled called junggun, and the lower-skilled called hagun. The culture of Jeju haenyeo contributes to the advancement of women's status in Korean society, a male-centre Confucian society. Furthermore, it raises global awareness of the importance of ICH for sustainable development. The nature of Jeju haenyeo culture such as the substainability of diving work, consideration for the weak, commitment to common good, and its ecological aspects is a good example for sustainable development of human societies. UNESCO recognised its social cohesion and cultural continuity for communities concerned and its internal awareness of the importance of women's work as intangible cultural heritage. And the culture of Jeju Haenyo encourages intercultural dialogue between haenyeo communities and other communities, which have similar practices.

"Culture of Jeju Haenyeo" Listed as an Intangible Cultural Heritage of Humanity of UNESCO View|Press Releases | Ministry of Foreign Affairs, Republic of Korea -- -- ... ## "Culture of Jeju Haenyeo" Listed as an Intangible Cultural Heritage of Humanity of UNESCO Date 2016-12-01 hit 6313 ... 1. At its meeting in Addis Abada, Ethiopia on November 30, the UNESCO Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage formally inscribed the “culture of Jeju haenyeo (women divers)” on the UNESCO List of the Intangible Cultural Heritage of Humanity. 2. The Intergovernmental Committee took note of the fact that “the culture of Jeju haenyeo” represents the unique cultural identity of Jeju Island and helps preserve environment in an eco-friendly and sustainable way; and that the community plays a role in passing down relevant knowledge and techniques. 3. With the “culture of Jeju haenyeo” listed as UNESCO’s intangible cultural heritage of humanity, unique cultural heritage of Korea will once again be promoted in and draw renewed attention from the global community. Going forward, the ROK government will seek inscription of its unique and outstanding cultural heritages on the UNESCO List of the Intangible Cultural Heritage of Humanity to preserve and share them with the world. * unofficial translation