The national flag of the Republic of Korea, also known as the Taegeukgi, has three parts: a white rectangular background, a red and blue taegeuk in its center, accompanied by four black trigrams, one in each corner. Flags similar to the current Taegeukgi were used as the national flag of Korea by the Joseon dynasty, the Korean Empire, as well as the Korean government-in-exile during Japanese rule. South Korea adopted the Taegeukgi for its national flag when it gained independence from Japan on 15 August 1945.
Buddhist symbolism is the use of symbols to represent certain aspects of the Buddha's Dharma (teaching). Early Buddhist symbols which remain important today include the Dharma wheel, the Indian lotus, the three jewels and the Bodhi tree.
The hanbok is a traditional clothing of the Korean people. The term hanbok is primarily used by South Koreans; North Koreans refer to the clothes as chosŏn-ot. The clothes are also worn in the Korean diaspora, especially by Koreans in China.
Korean gardens are a type of garden described as being natural, informal, simple and unforced, seeking to merge with the natural world. They have a history that goes back more than two thousand years, but are little known in the west. The oldest records date to the Three Kingdoms period when architecture and palace gardens showed a development noted in the Korean History of the Three Kingdoms.
Korean ceramic history begins with the oldest earthenware from around 8000 BC. Throughout the history, the Korean peninsula has been home to lively, innovative, and sophisticated art making. Long periods of stability have allowed for the establishment of spiritual traditions, and artisan technologies specific to the region. Korean ceramics in Neolithic period have a unique geometric patterns of sunshine, or it is decorated with twists. In Southern part of Korea, Mumun pottery were popular. Mumun togi used specific minerals to make colors of red and black. Korean pottery developed a distinct style of its own, with its own shapes, such as the moon jar or Buncheong sagi which is a new form between earthenware and porcelain, white clay inlay celadon of Goryeo, and later styles like minimalism that represents Korean Joseon philosophers' idea. Many talented Korean potters were captured and brought to Japan during the invasions of Korea, where they heavily contributed to advancing Japanese pottery. Arita ware, founded by Yi Sam-pyeong opened a new era of porcelain in Japan. Another Japanese representative porcelain, Satsuma ware was also founded by Dang-gil Shim and Pyeong-ui Park. 14th generation of Su-kwan Shim have been using the same name to his grandfather and father to honor they are originally Korean, 14th Su-kwan Shim is honorable citizen of Namwon, Korea.
Korean embroidery techniques and artifacts have a long history, but there is the most evidence from the Joseon Dynasty, after the 14th century in Korea. This article talks about the history, styles, preservation, artists, and examples of screens, costumes, and domestic wares of this exacting and beautiful art form.
The Ashtamangala is a sacred suite of Eight Auspicious Signs featured in a number of Indian religions such as Hinduism, Jainism, and Buddhism. The symbols or "symbolic attributes" are yidam and teaching tools. Not only do these attributes point to qualities of enlightened mindstream, but they are the investiture that ornaments these enlightened "qualities". Many cultural enumerations and variations of the Ashtamangala are extant.
Taegeuk is a Sino-Korean term meaning "supreme ultimate", although it can also be translated as "great polarity / duality". The term and its overall concept is derived from the Chinese Taiji popularised in the west as the Yin and Yang. The symbol was chosen for the design of the Korean national flag in the 1880s. It substitutes the black and white color scheme often seen in most taijitu illustrations with blue and red, respectively, along with a horizontal separator, as opposed to vertical.
Minhwa refers to Korean folk art produced mostly by itinerant or unknown artists without formal training, emulating contemporary trends in fine art for the purpose of everyday use or decoration. The term "minhwa" was coined by Yanagi Muneyoshi.
The Korean terms hyeong, pumsae, poomsae and teul are all used to refer to martial arts forms that are typically used in Korean martial arts such as Taekwondo and Tang Soo Do.
Geumsansa is a temple of the Jogye Order of Korean Buddhism standing on the slopes of Moaksan in Gimje City, Jeollabuk-do, South Korea.
Taoism or "Do" is thought to be the earliest state philosophy for the Korean people. However, its influence waned with the introduction of Buddhism during the Goryeo kingdom as the national religion and the dominance of neo-Confucianism during the Joseon dynasty. Despite its diminished influence during those periods, it permeated all strata of the Korean populace, integrating with its native animism as well as Buddhist and Confucian institutions, temples, and ceremonies. The Taoist practice in Korea developed, somewhat in contrast to China, as an esoteric meditative practice in the mountains taught by the "mountain masters" or "mountain sages".
In Chinese art, the Four Gentlemen or Four Noble Ones, is a collective term referring to four plants: the plum blossom, the orchid, the bamboo, and the chrysanthemum. The term compares the four plants to Confucian junzi, or "gentlemen". They are commonly depicted in bird-and-flower paintings, a broad category of classical Chinese art, and they are particularly popular subjects for ink wash painting.
Dancheong refers to Korean version of Chinese traditional decorative colouring (Danqing)on wooden buildings and artifacts for the purpose of style. It literally means "cinnabar and blue-green" in Chinese and in Korean, and is sometimes translated as "red and blue" in English. Along with its decorations and the choice of paint colours, Dancheong carries various symbolic meanings. It is based on five basic colours; blue (east), white (west), red (south), black (north), and yellow (center). The use of those five colours reflected the use of the yin and yang principle and the Philosophy of the five elements.
Goryeo ware refers to all types of Korean pottery and porcelain produced during the Goryeo dynasty, from 918 to 1392, but most often refers to celadon (greenware).
Qingyang sachet, also known as "chu chu" or "shua huo" is a folk custom of Qingyang, Gansu, China. Sachets are created from small pieces of silk, which are embroidered with colorful strings in a variety of patterns according to papercutting designs. The silk is then sewn into different shapes and filled with cotton and spices. Qingyang sachets symbolize blessing, auspiciousness, happiness, safety, peace, and avoidance of evil, disaster, illnesses, and misfortune. Many sachets are also filled with cinnabar, calamus, wormwood, and chrysanthemum, and they are commonly used as air fresheners, insect repellent, and protection against evil spirits.
Naesosa (Korean: 내소사), or Naeso Temple, is a Korean Buddhist temple located at the base of the mountain Naebyeongsan in Jinseo-myeon, Buan County, Jeonbuk State, South Korea.
Chinese influence on Korean culture can be traced back as early as the Goguryeo period; these influences can be demonstrated in the Goguryeo tomb mural paintings. Throughout its history, Korea has been greatly influenced by Chinese culture, borrowing the written language, arts, religions, philosophy and models of government administration from China, and, in the process, transforming these borrowed traditions into distinctly Korean forms.
Suzhou embroidery, Su embroidery or Su xiu is the embroidery created around the city of Suzhou, Jiangsu, China. It is one of the oldest embroidery techniques in the world and is the most representative type of art in Chinese embroidery. One of the well-known "four great embroideries of China" along with Cantonese embroidery, Sichuan embroidery and Xiang embroidery, Suzhou embroidery already has a history more than 2,000 years and is an important form of handicraft in the history of Chinese art and folk custom, representative of Chinese traditional folk arts. It is famous for its variety of stitches, beautiful patterns, elegant colors, and consummate craftsmanship.
Chinese auspicious ornaments in textile and clothing refers to any form of Chinese auspicious ornaments, which are used to decorate various forms of Chinese textile and clothing, fashion accessories, and footwear in China since the ancient times. Chinese auspicious ornaments form part of Chinese culture and hold symbolic meanings. In ancient China, auspicious ornaments were often either embroidered or woven into textile and clothing. They are also used on religious and ritual clothing and in Xifu, Chinese opera costumes. Auspicious symbols and motifs continue to be used in present-day China in industries, such as home textiles and clothing; they are also used in modern design packaging and interior design. Some of these Chinese auspicious ornaments were also culturally appropriated by European countries during the era of Chinoiserie, where they became decorative patterns on fashionable chinoiserie fashion and textiles.
