The Cheoyongmu Dance

Cheoyongmu is performed wearing the mask of Cheoyong, a fictional character from the Silla kingdom (57 BC ~ 935 AD). Of all the court dances in Korea, it is the only one in which a mask depicting a human is used, instead of a god or spirit. The dance is sometimes called ‘Obang Cheoyongmu’ (obang refers to the four cardinal directions and the center). Cheoyongmu is based on the legendary tale of Cheoyong. A long, long time ago during the reign of King Heongang (in power 875 ~ 886), an evil spirit came to the kingdom spreading smallpox and disease. The spirit tried to rape Cheoyong’s wife, but before he could, Cheoyong was able to chase the spirit away with his singing and dancing. From then on, people believed that putting a drawing of Cheoyong on their outside gate would ward off sickness and a variety of evils. Cheoyongmu is an art form combining masks, costumes, music, and dance. Though there are many variations of the actual movements, the accompanying song and music have remained the same. The dance is performed by five men clad in white (symbolizing the West), blue (East), black (North), red (South) and yellow (the center). The message of the dance is the theory of Ying/Yang and the Five Elements. The dance is supposed to bring luck and positive energy and ward off evil, and reflects this flow of energy through vigorous body movements. Cheoyongmu was designated as an Important Intangible Cultural Asset in Korea in 1971 and was inscribed on the UNESCO's Representative List of the Intangible Cultural Heritages of Humanity in 2009. ☞ Where to see Cheoyongmu: There are no places offering long running performances of Cheoyongmu, but the National Gugak Center often stages the dance during its programs or events. ☞ National Gugak Center Homepage (Korean, English, Chinese, Spanish, French, Russian) ☞ 1330 tt call center +82-2-1330 (Korean, English, Chinese, Japanese) ☞ Cultural Heritage Administration of Korea Homepage http://english.cha.go.kr/ (English)

Source : visitkorea.or.kr

Jeju Chilmeoridang-yeongdeung-gut Shaman Ritual

The Jeju Chilmeoridang Yeongdeunggut is a gut* ritual (see below) held sometime in the first half of the second lunar month at the Chilmeoridang Shrine in Geonip-dong on Jeju Island. Geonip-dong is a small fishing community where the residents' livelihood once depended heavily on the bounty of the sea: especially, fish and clams. Female divers called haenyeo, caught sea cucumber and abalone and gathered seaweed to sell in the market. The Yeongdeunggut is a ritual offered to the goddess of the winds (Grandmother Yeongdeung), who was believed to visit the island on first day of the second lunar month and leave again on the fifteenth day. People believed that the goddess made sea resources more abundantly available for the female divers to catch. For this reason, ceremonies were held all over Jeju Island during this period to pray for calm seas and plenty of fish. The Jeju Chilmeoridang Yeongdeunggut is the embodiment of the divers' belief of the Yeongdeung goddess and is a ritual unique to Jeju, not to mention that it is the only haenyeo gut ritual in Korea. *‘Gut’ (pronounced ‘goot’) is a religious shamanist ritual. A shaman performs songs and dances in front of drinks and rice cakes offered to the gods and calls upon the gods to regulate the fortunes and misfortunes of the residents. The Jeju Chilmeoridang Yeongdeunggut was designated as an Important Intangible Cultural Asset in Korea in 1980 and was inscribed on the UNESCO's Representative List of Intangible Cultural Heritages of Humanity in 2009. ☞ Where to see the ritual: Though originally located on slopes of Sarabong Peak, Chilmeoridang Shrine was moved to the entrance of the Sarabong Park walking trail. Usually, the Yeongdeung welcome ritual is held on the first of the second lunar month. The Yeongdeung farewell ritual is usually held on the fourteenth and is a much larger celebration than the welcoming rite. ☞ Click here for Sarabong Park ☞ Click here for Sarabong (Sara Oreum) ☞ 1330 tt call center +82-64-1330 (Korean, English, Chinese, Japanese) ☞ Cultural Heritage Administration of Korea Homepage http://english.cha.go.kr/ (English)

Source : visitkorea.or.kr

Yeongsanjae Buddhist Ritual

Yeongsanjae is a form of sasipgujae, a Buddhist ritual for the deceased that takes place 49 days after a person dies. The ritual serves as a way to send the person’s soul into the otherworldly realm of Buddha. It symbolizes Buddha's delivery of the Lotus Sutra on the Vulture Peak in India, during which the philosophical and spiritual messages of Buddhism were shared with the masses. Though the exact origin of the Yeongsanjae ritual is unclear, Neung-hwa Lee, author of the Joseon Bulgyotongsa (a book on the history of Buddhism in Korea), states that it was performed in the early part of the Joseon Dynasty (1392-1910). A central element of Korean Buddhist culture, Yeongsanjae is designed to help the deceased and all living beings enter the world of truth through the honoring of Buddha and his laws. This solemn Buddhist ritual is unique in that it engages the audience, rather than being a mere performance. The ceremony was designated as an Important Intangible Cultural Asset in Korea in 1973 and was inscribed in 2009 on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity. ☞ Where to see Yeongsanjae: The Yeongsanjae ceremony is hosted by the Yeongsanjae Preservation Association in Bongwonsa Temple in Seoul every year on the 6th of June. ☞ Click here for Bongwonsa Temple ☞ 1330 tt call center +82-2-1330 (Korean, English, Chinese, Japanese) ☞ Cultural Heritage Administration of Korea Homepage http://english.cha.go.kr/ (English)

Source : visitkorea.or.kr

Namsadang-nori Performance

All-Male Vagabond Performance

Namsadangnori (남사당놀이) generally refers to performances staged by Namsadangpae (남사당패), a vagabond troupe of 40 or more male performers. After the Joseon Dynasty, Namsadangpae troupes performed nationwide and were especially popular until the 1920s. Playing vital roles in the production were the kkokdusoe (leader), hwaju (performance planner), tteunsoe (music/dance planner), gayeol (performers), ppiri (trainees) and porters. Namsadangnori was a tradition rooted in the experience of the common people, and performances were staged especially for them. Musicians and dancers could relieve the grief of the poor and disenfranchised, while criticizing the immorality of the yangban (noble class) through their sarcastic humor. Namsadangnori were thus staged in rural areas or outside of town, where the gentry would not see them. Weather permitting, performances were held outdoors from spring till late autumn.

How It’s Performed

The Namsadangnori repertoire consisted of various types of music and dance: pungmul, beona, salpan, eoreum, deotboegi, and deolmi. Pungmul, a type of farm music (nongak) performed in rural communities, is played on traditional Korean wind and percussion instruments accompanied by dance and acrobatic performances. It functions as a call for the audience to gather for the performance. Lately Samulnori is quite well known, and it should be noted that Samulnori is a kind of pungmul that was adapted to be performed on stage. Beona is similar to the Chinese traditional dance in which a large plate is spun on the end of a stick. Salpan is similar to modern-time gymnastics, in which performers do various tumbling stunts. Tightrope walking, or eoreum, comes from the Korean word for ice, which is an indication of how difficult the practice is. Deotboegi is a type of mask dance. Finally, deolmi is a puppet performance. Several types of deolmi were popular at the time: kkokdugaksi noreum, bakcheomji noreum, and hongdongji noreum. Of those, kkokdugaksi noreum is still performed today. Namsadangnori is the last vestige of Korea’s traditional puppet tradition, and thus holds great historical significance. These performances are said to have started around 9 pm in the evening and lasted for 6 or 7 hours until 3 or 4 in the morning. This precious traditional dance was designated as an Important Intangible Cultural Property of Korea in 1964, and went on to become a UNESCO Intangible Heritage of Humanity in 2009. ● Where to find Namsadangnori performance ☞ Anseong Namsadang Regular Saturday Performances ☞ Official site: www.namsadangnori.org/index.htm (English)

Source : visitkorea.or.kr

Ganggangsullae Dance

All-Women Folk Dance

The southwestern coastal province of Jeollanam-do is home to Ganggangsullae, a Korean song and dance tradition performed by females around Chuseok holiday (Korean Thanksgiving) on the brightest night of the full moon. Legend has it that ganggangsullae originated from a military strategy used against Japanese troops when they attacked Korea’s coastal regions. Following two Japanese invasions during the Imjinwaeran war against Japan between 1592 and 1598, Admiral Yi Sun-shin (1545~1598), then Naval Commander of the region, came up with a plan to deceive the enemy. He ordered dozens of local women to sing and dance gangangsullae around nighttime campfires on the mountainsides along the coast causing the Japanese to overestimate the strength of the Korean troops and retreat. In a more general sense, ganggangsullae is considered a folk game, part of the age-old tradition of dancing and singing to celebrate the brightest full moon of the year. It expresses the exuberant spirit of women at a time when there were few such outlets for them. At the same time, it conveys the spirit of the Korean people beautifully.

Dancing Ganggangsullae

As the full moon begins to rise in the sky, women come together and move in a circle, hand-in-hand thrusting their right hands forward and their left hands back. The woman with the best voice sings first, followed by others who chant the repeated refrains of “ganggangsullae”. The leader’s singing is actually an improvisation. In the beginning, the dance movement and song tempo are slow, but the pace becomes more rapid, and soon the women appear to be running in a circle. The dancers usually maintain a circular movement, but there are other variations. For example, a dancer can walk into the center of the circle in a dance called namsaenginori. Or, one can start rolling inside the circle mimicking a snail, and then turn the direction around to unwind from the center out in what is called meongseongmari. The dance is not bound by any specific order, but can change at the will of the leader. The dancing continues from start to finish as a kind of joyful merry-go-round. This precious traditional dance was designated as an Important Intangible Cultural Property of Korea in 1966, and went on to become a UNESCO Intangible Heritage of Humanity in 2009. Source : visitkorea.or.kr

The Gangneung Danoje Festival

The Gangneung Danoje Festival is a traditional Korean festival which UNESCO designated as a masterpiece of human tradition and intangible cultural heritage on November 25, 2005. A Confucian sacrificial rite is performed at the Daegwallyeong Ridge Tutelary Deity Temple as the central event of the Gangneung Danoje Festival, the representative Korean festival held on Dano, the 5th day of the 5th month on the lunar calendar. The festival is held all over Gangneung City and Daegwallyeong Ridge; it stretches from the Danoje Festival grounds by Namdaecheon Stream which runs through the city of Gangneung - from the 20th day of the 3rd month on the lunar calendar when sacred liquor is brewed for the rite, to the 6th day of the 5th month on the lunar calendar when the rite finishes. Traditional games and performances such as a mask drama, a Dano shamanic ritual, swinging, and Yutnori (a Korean traditional game) can be enjoyed. Learning Dano folk songs or carving masks can also be directly experienced. Even though Dano is a traditional holiday celebrated by both Koreans and Chinese, only the Gangneung Danoje Festival is designated as an Intangible Cultural Property in UNESCO's Memory of the World because Korea’s native culture and tradition vividly coexist in the festival. Among Korea’s cultural heritages, the royal ancestral sacrificial rite in 2001, Pansori (a traditional Korean narrative song) in 2003, and the Gangneung Danoje Festival in 2005, have been continuously registered as Intangible Cultural Properties in UNESCO's Memory of the World.

DANO In Korea, there are two methods to determine the date, by using the solar calendar or the lunar calendar; thus, the dates on the solar calendar are different from the dates on the lunar calendar. Most of the traditional Korean holidays are dated on the lunar calendar, and an odd numbered day in the same odd numbered month has been thought to be a lucky day. Therefore, the 1st of January, the 3rd of March, the 5th of May, the 7th of July, the 9th of September, etc. on the lunar calendar have been chosen to be traditional holidays. Particularly, the 5th day of May on the lunar calendar is believed to be the most auspicious day because the celestial body of the universe converges on this date so that all the energies of nature are one. It is also believed that it is easy for young people to fall in love passionately on the day of Dano, the 5th day of May on the lunar calendar. As a result, young women have enjoyed swinging beautifully in traditional Korean dresses to attract young men’s attention. Likewise, men have participated in Ssireum (traditional Korean wrestling) to show their robustness and prowess. In addition, the 5th month on the lunar calendar, the month of Dano, is around the time of the rainy season in Korea when bad diseases were easily spread in the olden days. Therefore, traditional customs to prevent various misfortunes have been passed down. Following superstitious customs of Dano for preventing evil spirits and misfortunes, women wash their hair in water infused with irises as well as wear red or blue dresses. For men, they put the roots of irises into the waist of their trousers.

Dano’s Traditional Customs In the olden times, children took baths and adults splashed water on their backs to avoid the summer heat on the day of Dano. Noblemen were satisfied only when they put their feet into a water jar to maintain their dignity. Dano was a day to promote health and well-being right before summertime; as a result, on this day, there is a traditional custom of giving a folding fan to close acquaintances as a present, which means hoping for a healthy, cool summer. Furthermore, ancestors’ main entertainments on the day of Dano were swinging which was designated for women and wrestling which was designated for men. They also enjoyed a mask dance, a dance with a lion’s mask, and a mask drama. Because Dano is a representative traditional holiday just like Korean New Year’s Day, ancestors used to wear hanboks and pray for a good harvest on the day of Dano.

Dano’s Traditional Food Dano’s traditional food is quite appetizing as well as nutritious and will ensure a good state of health during summertime. The rice cake made with wormwood or Surichwi (a kind of marsh plant) whose medicinal effect is the best in the summer, is a main dish served on Dano. There is a traditional custom where various kinds of rice cakes such as Ssuktteok (rice cake with wormwood), Manggaetteok (rice cake with supplejack), Yakchotteok (rice cake with medicinal herb), Surichwitteok (rice cake with marsh plant), and wheat flour pancakes are made to share with neighbors. There is also cherry jelly made from cherries which are steamed and boiled in sugar as well as cherry punch made by mixing water and cherries preserved in sugar or honey. Source : visitkorea.or.kr

The Pansori Epic Chant

'Pansori,' often referred to as Korean Opera, is a type of traditional Korean music which tells a themed story in the form of music theater, with two musicians sharing the spotlight- a singer ('sorikkun') and a drummer ('gosu'). The singer plays the central role through his singing, words, and body language while the drummer plays an accompanying role by providing the rhythm and shouting words of encouragement to add to the passion of the performance. With a distinct, inimitable sound, rhythm, and singing technique, Pansori is truly representative of Korea's unique cultural landscape.

Pansori first emerged during the mid-Joseon era (1392-1910), when common culture began to evolve. The scribes of Pansori and the year of their origin are hard to pinpoint- it began as an oral tradition that was continued by professional entertainers. During the Joseon era, entertainers were regarded as lowly peasants, which explains why Pansori remained mostly in commoners' circles. But towards the end of the Joseon era, aristocrats took notice- and the audience for Pansori operas increased. Originally a collection of 12 operas, there are now regrettably only 5 that have been passed down to us today- Chunhyangga, Simcheongga, Heungbuga, Jeokbyeokga, and Sugungga. A Pansori performance is lengthy, some even taking up to 4 to 5 hours to complete. In 2003, Pansori was officially recognized by UNESCO as an important piece of world culture. Source : visitkorea.or.kr

The Royal Ancestral Ritual in the Jongmyo Shrine and its Music

Jongmyo Jerye is a ceremony held for the king and queens of the Joseon Period in the shrine where the ancestral tablets of theirs are preserved. Jongmyo, along with the rituals where services for the Gods of Earth and Corps were performed, is considered as an important symbol which is the foundation of national survival. It has Jeongjeon(Main Hall), enshrined 49 tablets in 19 spirit chambers, and Yeongnyeongjeon(Hall of Eternal Peace), enshrined 33 tablets in 16 spirit chambers.

Jongmyo Jerye was one of the five kinds of rites performed by the Joseon Dynasty's royal family. The five were classified as gillye (auspicious rites), hyungnye (funural rites), binnye (reception ceremonies), gunne (military rites), and garye (wedding ceremonies). The gillye includes the ritual service to the gods of heaven and earth and royal ancestral spirits. Besides the rite worshipping the royal ancestors, Jongmyo Jerye has also been dedicated to meritorious civil and military retainers.

It was classified into regular and extraordinary ceremonies. The regular ceremony was held in January, April, July, and October. Initially, an extraordinary ceremony was held when auspicious occasions and national disasters occurred, but after the liberation from Japanese imperialist rule, it was held on the first Sunday of May. As it was a model of all ceremonies for spirits, its order and procedures were very strict and solemn.

Jongmyo Jerye proceeded in an order of rehearsal → ancestral tablet placing → spirits welcoming → singwanrye → food presenting → first obeisance → second obeisance → last obeisance → sacrificial food and drink partaking → cheolbyeondu → mangryo → closing. Before Jongmyo Jerye, a monarch was prudent in his speech and action for 4 days and cleaned his body for 3 days. 'Filial piety' is one of the Confucian tenets and Jongmyo Jerye, as the national manifestation of filial piety, took the role of enhancing the solidarity of people and bringing them closer together through that very common denominator. Jongmyo Jerye, as a standard of art in Confucian society, is a valuable cultural asset and the music, dance, ritual vessels, and libation of foods of Jongmyo Jerye are essential manifestations of aesthetics of performing arts based on cosmic and Confucian principles.

Jongmyo Jeryeak, Royal Ancestral Ritual Music, was performed when royal people held a ceremony for the repose of their ancestors in the Shrine, just named 'Jongmyoak.' Each procedure of the ceremony was composed of various music such as 'Botaepyeong' and 'Jeongdaeeop,' songs called 'Jongmyoakjang' praising the civil achievements of the Joseon kings and their military exploits, and dances like 'Botaepyeong dance' and 'Jeongdaeeop dance.'

The music, which was initially created in the reign of the Joseon Dynasty's 4th King, King Sejong, was used in royal palace banquets, and then it was modified as suitable for the ceremony under Sejo's reign, which has been handed down to present. The music was performed in Jongmyodaejae, which was discontinued in 1946 and then resumed in 1971, on the first Sunday of May every year.

Jongmyo Jeryeak performed in Jongmyo Shrine consists of Botaepyeong, which has 11 music pieces, and Jeongdaeeop, which also has 11 music pieces. The musicians are divided into the upper terrace orchestra in the foreground, called the Deungga, and the lower terrace orchestra, called the Heonga. Some music pieces of Jongmyo Jeryeak have their roots in the Tang Dynasty and Song Dynasty of China, and some grew in the native environment. These three different styles of music pieces are played with different instrumental ensembles.

Line dances are performed to the orchestral accompaniment of Deungga or Heonga in accordance with ritual procedures. Line dances aim at delineating the harmony of the negative and positive cosmic forces of yin and yang while they shift between civil dance(Munmu), delineating the positive force of yang to praise the civil achievements of the Joseon kings, and military dance(Mumu), delineating the nature of negative force of yin to praise the military achievements of the Joseon kings, for which the hand-held props are changed appropriately.

Hundreds of officiants, musicians, dancers, and attendants all create the ensemble of this composite art reflecting solemnity and magnificence typical of Asia. That this original property has continued without impairment for 500 years makes it indeed rare, so that its value should be preserved as part of the world's intangible cultural heritage and its benefits should be shared with a broad range of people worldwide.

Jongmyo Jeryeak, Important Intangible Cultural Properties No. 1, was selected as 'Masterpieces of the Oral and Intangible Heritage of Humanity,' with Jongmyo Jerye, Important Intangible Cultural Properties No. 56.

Source : visitkorea.or.kr

Historic Villages of Korea; Hahoe and Yangdong

Although there are numerous historical villages in Korea, the most representative are “clan villages.” In Korea, a clan is a social group comprised of people of the same paternal line, family name, and ancestral home; it also includes women who have entered into the clan by marriage. Consequently, the term “clan village” refers to a village in which one or two clans form the majority of the village’s residents and play a central role in making decisions about village life. Though the entire Korean peninsula is scattered with historical neighborhoods and cultural gems, clan villages make up 80% of all historical villages, a major spread since their establishment in the early part of the Joseon Dynasty (1392-1910). Of these pockets of time-honored beauty, Hahoe and Yangdong are Korea’s longest surviving and most well-preserved traditional clan villages. Both villages were home to the yangban (ruling noble class) during the Joseon and together are regarded as the epicenter of Korea’s Confucian culture. Hahoe and Yandong face outward towards quietly flowing river waters and are guarded by forested mountains at the rear. Long ago, each village was constructed with sensitivity to the unique mountain and waterside climate. Not only built to be able to withstand temperature and humidity changes throughout the year, village houses, pavilions, study halls, and Confucian academies were specially constructed and arranged so as not to violate Confucian etiquette and the principles of Feng shui. In addition to their unique spatial arrangements, the villages hold priceless archives and artwork from Joseon Era Confucianists and are some of the few remaining places that strictly observe traditional family and community rituals and events. In recognition of these attributes, the UNESCO World Heritage Committee officially put these historical villages of Korea on the UNESCO World Heritage List at its 34th convention meeting in Brazil. Visitor Information Go to Andong Hahoe Village Go to Gyeongju Yangdong Village Official site of Hahoe Village http://www.hahoe.or.kr (Korean, English, Japanese) Official site of Yangdong Village http://yangdong.invil.org/ (Korean, English, Japanese, Chinese) Korea Travel Phone +82-54-1330 (English, Japanese, Chinese)

Source : visitkorea.or.kr

the 40 Royal Tombs of the Joseon Dynasty

Within the forty royal tombs of the Joseon Dynasty are interred 27 kings, queens, and those monarchs that were posthumously granted the title of king or queen. The tombs date from the time of the dynasty’s foundation in 1392 until its fall in 1910. Of all the royal tombs of Korea’s past dynasties, the tombs of the Joseon Dynasty are in the best condition. In fact, rarely have royal dynastic tombs worldwide been so well preserved in their entirety. (* Among the 27 kings, the tombs of two disposed kings, Yeonsangun and Gwanghaegun are not included in the list of the Royal Tombs of the Joseon Dynasty. )

Favorable Geomantic Locations

The sites for the royal tombs of the Joseon Dynasty were chosen based on geomantic traditions: they had to be located between 4 kilometers and 40 kilometers from the center of Hanyang, the dynastic capital. The tombs had to be facing south toward a body of water and had to be protected by a hill. They could not be located on a mountain or in a field. Each site was considered a divine space, and therefore had to be isolated from other areas that were already in use by surrounding mountains or other topographical features. As a result, the royal tombs are located in lush green spaces around the suburbs of Seoul and provide visitors with a wonderful opportunity to enjoy nature in an urban setting.

Composition of the Royal Tombs

When the royal tombs were constructed, man-made facilities were kept to a minimum in order not to damage or interfere with the natural surroundings. The design of the tombs was carefully planned, so that various ancestral ceremonies and rituals could be performed there on a regular basis. Over time, certain traditions developed for the construction of the tombs. Near to the tombs, a small building was constructed, which was used when preparing for ceremonies and rituals. When you walk past the building, a forested area and a stone bridge over a stream comes into view. In front of the tomb, a red gate with cylindrical pillars was placed, this symbolized to visitors that they were entering a tomb site. After passing through the gate, you enter the center of the tomb site. The royal tombs were built by piling earth into a huge mound and have a number of features, such as doors, and stone guardian statues standing in front of the tombs. Throughout the Joseon Dynasty, the royal tombs maintained their basic design, but gradually adapted to the topographical conditions and circumstances of the times. The 40 royal tombs of the Joseon Dynasty were officially listed as UNESCO World Heritage Sites in June 2009. This was due to their unique architecture, the comprehensive preservation of all of the tombs from the 500-year dynasty, and their locations, which were decided by Confucian and geomantic traditions. Excluded from the list were the Jereung and Hureung tombs in North Korea.

< List of the Royal Tombs of the Joseon Dynasty>

Reign King Tomb Chinese Charac ter Buried Location Notes 1st Taejo Geonwolleung (건원릉) Jereung (제릉) Jeongneung (정릉) 健元陵 齊陵 貞陵 Taejo Queen Sinui Queen Sindeok Gyeonggi-do Guri Gaeseong (North Korea) Seoul Seongbuk -gu Dong gureung (동구릉) - - 2nd Jeongjong Hureung (후릉) 厚陵 Jeongjong, Queen Jeongan Gaeseong (North Korea) - 3rd Taejong Heolleung (헌릉) 獻陵 Taejong, Queen Wongyeong Seoul Gangnam -gu - 4th Sejong Yeongneung (영릉) 英陵 Sejong, Queen Soheon Gyeonggi-do Yeoju - 5th Munjong Hyeolleung (현릉) 顯陵 Munjong, Queen Hyeondeok Gyeonggi-do Guri Dong gureung 6th Danjong Jangneung (장릉) Sareung (사릉) 莊陵 思陵 Danjong Queen Jeongsun Gangwon-do Yeongwol Gyeonggi-do Namyangju - - 7th Sejo Gwangneung (광릉) 光陵 Sejo, Queen Jeonghui Gyeonggi-do Namyangju - Post hum ous king Deokjong Gyeongneung (경릉) 敬陵 Deokjong, Queen Sohye Gyeonggi-do Goyang Seoo reung (서오릉) 8th Yejong Changneung (창릉) Gongneung (공릉) 昌陵 恭陵 Yejong, Queen Ansun Queen Jangsun Gyeonggi-do Goyang Gyeonggi-do Paju Seoo reung Paju Sam neung (파주삼릉) 9th Seongjong Seolleung (선릉) Sulleung (순릉) 宣陵 順陵 Seongjong, Queen Jeonghyeon Queen Gonghye Seoul, Gangnam-gu Gyeonggi-do Paju - Paju Sam neung 11th Jungjong Jeongneung (정릉) Olleung (온릉) Huireung (희릉) Taereung (태릉) 靖陵 溫陵 禧陵 泰陵 Jungjong Queen Dangyeong Queen Janggyeong Queen Munjeong Seoul, Gangnam-gu Gyeonggi-do Yangju Gyeonggi-do Goyang Seoul, Nowon-gu - - Seosam neung (서삼릉) - 12th Injong Hyoreung (효릉) 孝陵 Injong, Queen Inseong Gyeonggi-do Goyang Seosam neung 13th Myeonjong Gangneung (강릉) 康陵 Myeongjong, Queen Insun Seoul, Nowon-gu - 14th Seonjo Mongneung (목릉) 穆陵 Seonjo, Queen Uiin, Queen Inmok Gyeonggi-do Guri Dong gure ung Post hum ous king Wonjong Jangneung (장릉) 章陵 Wonjong, Queen Inheon Gyeonggi-do Gimpo - 16th Injo Jangneung (장릉) Hwireung (휘릉) 長陵 徽陵 Injo, Queen Illyeol Queen Jangnyeol Gyeonggi-do Paju Gyeonggi-do Guri - Dong gureung 17th Hyojong Nyeongneung (녕릉) 寧陵 Hyojong, Queen Inseon Gyeonggi-do Yeoju - 18th Hyeonjong Sungneung (숭릉) 崇陵 Hyeonjong, Queen Myeongseong Gyeonggi-do Guri Dong gureung 19th Sukjong Myeong neung (명릉) Ingneung (익릉) 明陵 翼陵 Sukjong, Queen Inhyeon, Queen Inwon Queen Ingyeong Gyeonggi-do Goyang Seoo reung Seoo reung 20th Gyeong jong Uireung (의릉) Hyereung (혜릉) 懿陵 惠陵 Gyeongjong, Queen Seonui Queen Danui Seoul, Seongbuk- gu Gyeonggi-do Guri - Dong gureung 21st Yeongjo Wolleung (원릉) Hongneung (홍릉) 元陵 弘陵 Yeongjo, Queen Jeongsun Queen Jeongseong Gyeonggi-do Guri Gyeonggi-do Goyang Dong gureung Seoo reung Post hum ous king Jinjong Yeongneung (영릉) 永陵 Jinjong, Queen Hyosun Gyeonggi -do Paju Paju Sam neung Post hum ous king Jangjo Yungneung (융릉) 隆陵 Jangjo, Queen Heongyeong Gyeonggi-do Hwaseong - 22nd Jeongjo Geolleung (건릉) 健陵 Jeongjo, Queen Hyoui Gyeonggi-do Hwaseong - 23rd Sunjo Illeung (인릉) 仁陵 Sunjo, Queen Sunwon Seoul Seocho-gu - Post hum ous king Ikjong (Munjo) Sureung (수릉) 綏陵 Ikjong, Queen Sinjeong Gyeonggi-do Guri Dong gureung 24th Heonjong Gyeongneung (경릉) 景陵 Heonjong, Queen Hyohyeon, Queen Hyojeong Gyeonggi-do Guri Dong gureung 25th Cheoljong Yereung (예릉) 睿陵 Cheoljong, Queen Cheorin Gyeonggi-do Goyang Seo sam neung 26th Gojong Hongneung (홍릉) 洪陵 Gojong, Empress Myeongseong Gyeonggi-do Namyangju - 27th Sunjong Yureung (유릉) 裕陵 Sunjong, Empress Sunmyeonghyo, Empress Sunjeonghyo Gyeonggi-do Namyangju -

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