ALL
대한민국
ICH Elements 143
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Daemokjang, traditional wooden architecture
Inscribed in 2010 (5.COM) on the Representative List of the Intangible Cultural Heritage of Humanity 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 as ‘knowledge, skills’. In addition, they use traditional materials and techniques. Thus, daemokjang constitutes ‘e) traditional craftsmanship’. 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. The knowledge and skills of daemokjang practitioners are recorded in historical documents, and verified in actual buildings.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.
South Korea 2010
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Arirang, lyrical folk song in the Republic of Korea
Inscribed in 2012 (7.COM) on the Representative List of the Intangible Cultural Heritage of Humanity Nearly every Korean knows and enjoys singing Arirang, which is not just one song but a variety of local versions handed down throughout Korea. Experts estimate the total number of folk songs carrying the title ""Arirang"" at some 3,600 variations belonging to about 60 versions. Arirang is essentially a simple song, consisting of the universal refrain Arirang, arirang, arariyo, and lyrics that have developed differently from region to region. The most typical lines express a universal sentiment: Arirang, arirang, arariyo; Over the Arirang hill you go. (refrain) Leaving me, my love, you'd go lame before three miles. (lyrics) The lyrics were not created by any particular individual, but an outcome of collective contributions made by ordinary Koreans through generations. They convey joys and sorrows of common people arising from love, parting with the beloved, troublesome in-laws, or national struggle against foreign invaders. Affection for Arirang is evident throughout today's ultra-modern Korean culture, well beyond the realm of traditional music. Arirang has been rearranged into modern ballads, rock 'n roll and hip-hop, as well as symphonic pieces, appealing to a wide array of audiences and striking a chord with Koreans; it is often described as their unofficial national anthem. Olympic champion Kim Yu-na skated to an Arirang theme, ""Homage to Korea,"" at the 2011 World Figure Skating Championships. Arirang is also one of the most recognized cultural symbols and is widely used as a theme for movies, dramas and soap operas, and names of commodities, restaurants, and broadcasting companies.
South Korea 2012
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Traditional Korean wrestling (Ssirum/Ssireum)
Inscribed in 2018 (13.COM) on the Representative List of the Intangible Cultural Heritage of Humanity As one of the popular Korean folk tradtion, ssireum is a type of wrestling in which two players wearing long fabric belts around their waists and one thigh grip their opponents' belt and employ various techniques to send the opponent to the ground. It is played on diverse occasions, including traditional holidays, market days, and festivals. Ssireum games occur on sand in any available space around a neighborhood, and are open to participation by community members of all ages, from children to seniors. The winner in the final game for adults is awarded an ox, which symbolises agricultural abundance, and the title of Jangsa. When the games are over, the Jangsa parades around the neighborhood riding the ox in celebration. The customary practice of providing an ox as a prize is meant to allow the winner to farm more effectively.
South Korea 2018
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Yeongsanjae
Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity The Yeongsanjae is performed to help all beings and spirits enter into the world of truth, by worshipping and admiring the Buddha, Buddha’s law and monks. It is the highest and biggest ritual utilized by Korean Buddhists to represent the world of Buddha here and now and is based on the philosophy of the Lotus Sutra. It is also a means for meditation and training. The order of a Yeongsanjae performance is as follows: 1. Reception Ritual (siryeon): The purpose here is to receive all the saints and spirits of heaven and earth with the guidance of the Soul-Guiding Bodhisattva so that the ritual can be performed in a holy way. 2. Spirit Reception (daeryeong): The masters of the ritual are the spirits, dead and alive, i.e., all people. Dead spirits are invited to the ritual, while those present at the ritual are told why it is being performed and given the directions they should follow, based on the Buddha’s Law. Families of the deceased dedicate food and liquor as an expression of their love and respect for the dead. 3. Cleansing of the Dirt (gwanyok): This is the ritual to cleanse the three karmas of the spirits that have accepted invitation so as to facilitate the achievement of serenity. 4. Donation of Money (Jojeon Jeoman): “Jojeon” means money that can be used in the nether world, and “jeoman” means to endow money with value. The necessity of money is to awaken us to the fact that our life is maintained by material blessings from the outside. 5. Tea Donation (Sinjung Jakbeop): A tea ceremony is dedicated to all the saintly spirits invited with the hope that the ritual will be performed well. 6. Reception of Buddha (Gwaebul Iun): Sakyamuni Buddha, the master of the ritual and who will preach on the Lotus Sutra, and all the Buddhas and Bodhisattvas are received according to the Law of Buddhism. 7. Dedication of Rice Meal (Sangdan Gwongong): With the Buddhas and Bodhisattvas invited, a rice meal is dedicated. In this ritual, wishes are made that, with the merciful help of the Buddhas and Bodhisattvas, all beings will obtain happiness and that the light of truth lit by Buddha will shine over the world of suffering. 8. Sermon (Beopmun): A monk in place of Buddha reconfirms the purpose of the ceremony, presenting concrete ways to realize that purpose. The monk delivers a sermon in which the audience is invited to the door of truth. 9. Meal Ritual (Sikdang Jakbeop): This ritual meal is intended not for the Buddhas and Bodhisattvas, but for the monks attending the ceremony. However, symbolically, it is for all beings in this universe, and through this service a foundation is laid for becoming a Buddha. 10. Blessing Ritual (Jungdan Gwongong): All of the saintly beings attending the ritual are asked to help ensure a good performance of the ritual. It also asks for blessings on all those present at the ritual. 11. Meal for the Dead Ritual (Sisik): Since the attendees are fortunate to be listening to the words of Buddha and since all rejoice that the dead have all gone to heaven, a happy rather than sorrowful ritual is performed for the departed to celebrate and congratulate themselves on going to heaven. 12. Farewell Ritual (Bongsong & Sodae Baesong): At the opening of the ritual, all beings were politely received with chants, so likewise, they should be given a proper farewell. The farewell is the final step in affecting the deceased’s final destination. Since Yeongsanjae was designated an Important Intangible Cultural Heritage by the state in 1973, it has been under national protection. In 1987, when the Yeongsanjae Preservation Association was officially established, it started to perform activities to ensure its transmission. The Yeongsanjae has been transmitted by the Taego Order, a Korean Buddhist order. Based at Bongwonsa Temple, the Taego Order maintains the tradition of Buddhist rituals and as such, most of the transmitters are monks of the Taego Order. Currently, Monk Kim In-sik (Buddhist name: Guhae) is the primary Yeongsanjae expert in terms of Buddhist music, following the ranks of Jigwang, Byeokeung, Songam, and Ileung. Assisting Kim are Ma Myeong-chan, Lee Su-gil, Oh Chan-yeong, Lee Byeong-u, Lee Jo-won and Han Hui-ja, who are all trainers in Buddhist music and dance or making the ornamental paper flowers for the ritual. A total of 240 transmitters are leading the Yeongsanjae Preservation Association. Until 2006, Bongwonsa Temple held a Yeongsanjae ritual for the public on the fifth day of the fifth lunar month. In order to encourage more people to participate in the ritual, it is now held on Memorial Day, a national holiday which falls on June 6.
South Korea 2009
ICH Materials 348
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JoroonJoroo
Joroon Joroo depicts couples dancing while riding on horses strolling at a leisurely pace. This dance originates from the Mongolian folk dance Bii Biyelgee. Bii Biyelgee is a dance arising from the nomadic lifestyle, and was traditionally performed in a small confined space within the ger, next to the stove. The choregraphy is primarily performed using the chest, shoulders, head and wrists, to avoid raising dust indoors. The legs are in a half-sitting position or crossed, only acting to support the torso. It is characterized by the raising of the arms and shaking of the shoulders. It is primarily accompanied by the ekil (violin-like traditional instrument) and the choreography is relatively short in length.\n\nThe various ethnic groups of Mongolia each perform their own unique and creative form of Biyelgee, which all go by different names. As Biyelgee is not just a dance but a form of pantomime which involves wit, emotions and expressions, it requires a high level of technical expertise and patience to master. Biyelgee plays an important role in the Mongolian society composed of a wide range of communities, as a cultural asset reflecting the customs and lifestyles of Mongolian nomads, and a common ground connecting the various ethnic communities. The viability of Biyelgee had been under threat in the recent past, due to a continued decline in the number of transmitters and performing communities, the numbers of trainees and transmitters have been showing stable growth with safeguarding efforts by the UNESCO and the Mongolian government.\n\nCharacteristics:\n∙A branch of Biyelgee dance which uses horses as a motif\n∙Biyelgee was inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding in 2009\n\nperformed by Mongolian National Song and Dance Academic Ensemble\ndirected by Tseden-Ish Altangerel\nchoreographed by Davaakhuu Altangerel
Mongolia -
Eagle Dance
The Eagle Dance is a Mongolian folk dance expressing the movements of a white eagle flying across the sky. Dancers raise one leg and flap their arms, imitating eagles flapping their wings. They also perform powerful movements to dynamic music. The basic move of raising both arms while moving the shoulders up and down originates from the Mongolian Biyelgee dance.\n\nThe white eagle is known to be the totem bird of Genghis Khan, founder of the Mongol Empire. The Eagle Dance represents the bravery of 13th century Mongolian warriors, and is a permanent fixture in the repertoire performed at major national events.\n\nCharacteristics:\n∙Dance mimicking the movements of animals\n\nPerformed by Mongolian National Song and Dance Academic Ensemble\nDirected by Tseden-Ish Altangerel\nChoreopraphed by Davaakhuu Altangerel
Mongolia
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Urushi Lacquer in Japan: Restoration of Cultural Properties and the Current State of Urushi Production
Urushi Lacquer in Japan: Restoration of Cultural Properties and the Current State of Urushi Production by Yuji Yonehara (Director, Center for Innovation in Traditional Industries Kyoto Seika University)
Japan 2021-02-18 -
Shared Heritage in the Asia-Pacific Region: Focusing on UNESCO Multinational Inscription\t
Shared Heritage in the Asia-Pacific Region: Focusing on UNESCO Multinational Inscription by Thi Hien Nguyen (Vice Director, Viet Nam National Institute of Culture and Arts Studies)
Viet Nam 2021-02-19
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2020 ICH NGO Conference : ICH and Resilience in Crisis
On 12 and 13 November 2020, ICHCAP and the ICH NGO Forum virtually held the 2020 ICH NGO Conference entitled “ICH and Resilience in Crisis.” The fifteen participants, including eleven selected presenters from ten countries around the world, discussed various cases and activities of each country applied under the Corona-era, and proposed solidarity for the resilience of ICH for a ‘New Normal.’\n\nSession 1: In the Vortex: COVID-19 Era, Roles of NGOs to Safeguard ICH\n\nSpecial Lecture 1: 'Resilience System Analysis' by Roberto Martinez Yllescas, Organization for Economic Co-operation and Development (OECD) in Mexico\n1. 'Uncovering the veil of immaterial cultural heritage towards and autonomous management of well-being as well as cultural and territorial preservation' by Carolina Bermúdez, Fundación Etnollano\n2. 'Holistic Development Model of Community-Based Intangible Cultural Heritage of Yuen Long District in Hong Kong of China' by Kai-kwong Choi, Life Encouraging Fund \n3. 'Indigenous Knowledge System as a vector in combating COVID-19' by Allington Ndlovu, Amagugu International Heritage Centre\n4. 'Enlivening Dyeing Tradition and ICH: The initiative of ARHI in North East of India' by Dibya Jyoti Borah, President, ARHI\n\nSession 2: Homo Ludens vs. Home Ludens: Changed Features COVID-19 Brought\n\n1. 'The Popular Reaction to COVID-19 from the Intangible Cultural Heritage among Member Cities of the ICCN' by Julio Nacher, ICCN Secretariat, Algemesi, Spain\n2. 'Innovation for Arts and Cultural Education Amid a Pandemic' by Jeff M. Poulin, Creative Generation\n3. 'Promoting Heritage Education through Intangible Cultural Heritage in the Kalasha Valleys of Pakistan' by Ghiasuddin Pir & Meeza Ubaid, THAAP\n4. 'Shifting to Online Activities: Digital Divide among the NGOs and ICH Communities in Korea' by Hanhee Hahm CICS\n\nSession 3: Consilience: Prototype vs. Archetype for Educational Source\n\nSpecial Lecture 2: 'Geographical imbalance: the challenge of getting a more balanced representation of accredited non-governmental organizations under the 2003 Convention' by Matti Hakamäki, Finnish Folk Music Institute\n1. 'Crafting a Post Covid-19 World: Building Greater Resilience in the Crafts Sector through Strengthening Ties with its Community’s Cultural System' by Joseph Lo, World Crafts Council International\n2. 'Arts and Influence: Untangling Corporate Engagement in the Cultural Sector' by Nicholas Pozek, Asian Legal Programs, Columbia University\n3. 'ICH in the South-Western Alps: Empowering Communities through Youth Education on Nature and Cultural Practices' by Alessio Re & Giulia Avanza, Santagata Foundation for the Economy of Culture\n\n
South Korea 2020 -
3rd APHEN-ICH International Seminar Diversity and Distinctiveness: Looking into Shared ICH in the Asia-Pacific
Intangible cultural heritage (ICH) is transnational in nature. It is necessary to spread the perception that ICH transcends geographical spaces and national borders, creating dynamic relations, connectedness, and continuity, which is why it is a timeless bearer of cultural diversity, the foundation of the heritage of humanity. However, as the modern structure of nation-state determines the boundaries of culture with national borders, forming the concept of “culture within the country”, subsequently led to the perception that the ownership of culture belongs to the state.\n\nThe concept of exclusive ownership of culture is often controversial in the UNESCO listing process, particularly in instances where cultural heritage and cultural domains have been shared for a long time by two or more nation-states. Such conflicts lead to excessive competition for nomination, overshadowing UNESCO’s fundamental purpose of contributing to peace and security in the world by promoting collaboration among nations, as well as the very spirit of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage that promotes international cooperation and assistance in the safeguarding of ICH as a matter of general interest to humanity.\n\nConsequently, UNESCO encourages multinational inscriptions of shared intangible cultural heritage to promote regional cooperation and international safeguarding activities, preventing conflicts among countries and coping with already existing ones. By emphasizing joint nominations of shared ICH, UNESCO revised its implementation guidelines three times to deal with conflicts between countries due to the cultural property rights. In addition, States Parties are encouraged to develop networks among relevant communities, experts, professional centres, and research institutes, particularly with regard to their ICH, to cooperate at the sub-regional and regional levels.\n\nAt the 13th Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage held in the Republic of Mauritius in November 2018, Traditional Korean Wrestling was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity as the first joint designation by the Democratic People’s Republic of Korea and Republic of Korea. This milestone in the life of the Convention demonstrates that ICH contributes to the peace-building, reconciliation, mutual understanding, and solidarity among peoples. Indeed, only when acknowledging that shared cultural values are empowering characteristics of ICH, the true perspective of the unifying agent of the cultural diversity can be achieved, and that it is the cornerstone of reaching peace among nations.\n\nCountries in the Asia Pacific region are deeply connected by a long history of interactions, exchanges, flows of people, goods, and ideas that have shaped shared values, practices, and traditions. Having a balanced view, advocating for cultural diversity, and recognizing the commonalities among individuals, communities, and countries as a strength are virtuous tenets in the present time.\n\nIn this regard, APHEN-ICH Secretariat, ICHCAP, and UNESCO Bangkok Office are inviting the APHEN-ICH member institutes and public to this seminar under the theme of Diversity and Distinctiveness: Looking into the Shared ICH in the Asia-Pacific, to re-assess that while fragile, intangible cultural heritage is an important factor in maintaining cultural diversity, connecting bounds, and enhancing international dialogue and peace.
South Korea 2021
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ICH Courier Vol.45 Oral Tradition of The Asia-Pacific Communities
Oral tradition consists of diverse narratives. It is passed on by word of mouth as everyday wisdom and transmitted through the generations. After that, it becomes infused in a region’s history, philosophy, and way of life, thus forming the foundation for a community’s knowledge systems. This volume introduces traditional tales in Sri Lanka, Palau, Kyrgyzstan, and Vietnam.
South Korea 2020 -
2011/2012 Mongolia-ICHCAP Joint Cooperation Project Report-Safeguarding Intangible Cultural Heritage by Utilising Information Technology
Since the beginning of 1950s, the Institute of Language and Literature at the Academy of Sciences in Mongolia has initiated sending the survey teams, 1-3 times a year, for researching and gathering data on oral literature and local dialectics. The initiation of above activities has set the groundwork for official establishment of a new archive with written documents and magnetic audio tapes, utilization for research purposes and the maintenance. Along with sending the survey teams, individuals/bearers were invited to the Institute from the local areas and their repertoire were recorded on magnetic tapes.\n\nAs a result, a rich repertoire of the epics, folk tales, folk songs, benedictions, odes, riddles, proverbs and other main elements of Mongolian oral heritage in their local dialectics and characteristics were succeeded to be recorded and collected at once as never before. The language and dialects that have already lost their distinctiveness or absorbed into the central one, now already the extinct forms of oral literary expressions and heritage are remained and preserved on magnetic tapes. This fact is raising the historic and academic values more for those original forms which were preserved on the magnetic tapes.\n\nDue to the fact that the most of the magnetic tapes being kept at the Institute are more than 60 years old, the storage period of some of the tapes has already been expired. Also, the un-proper storage conditions have caused some tapes to get dried, clung to one another or fractured. Due to above reasons, the inevitable need has risen for restoration and digitization of these magnetic tapes as well as improvement of the storage conditions and environment. Accordingly, since 2008, some efforts have been made towards restoration and digitization of these superannuated magnetic tapes within the internal capability and capacity of the Institute. Although, due to the lack of capable human resources, finance and proper tools and technical equipment, these efforts to restore and digitalize faced several obstacles and have shown un-successive results.\n\nIn 2009, the authorities of the Institute have introduced to the Foundation for the Protection of Natural and Cultural Heritage their request to cooperate. Since, the organizations have started to collaborate on the possibilities to restore and digitalize the superannuated magnetic tapes. Accordingly, the Foundation for the Protection of Natural and Cultural Heritage proposed to ICHCAP to continue the Joint Project and take measures for restoration, digitization of the superannuated magnetic tapes, and distribution and dissemination among general public.
Mongolia 2011~2012
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SPECIAL ROUNDTABLE TALK ON THE ICH COURIEROn 30 August 2019 at the National Intangible Heritage Center, Jeonju, Republic of Korea, ICHCAP held a special roundtable talk facilitated by Dr. Seong-Yong Park, Editor-in-Chief, to commemorate the tenth anniversary of the ICH Courier. Among the invited guests were Gaura Mancacaritadipura, Editorial Advisory Board Member; Boram Kim, Editor-in-Chief, UNESCO News for KNCU; Aigul Khalafova, Culture Specialist, UNESCO Almaty Office; and Phuttitarn Linina, UNESCO ICH Facilitator. Additional participants from ICHCAP included KEUM Gi Hyung, Director-General; Michael Peterson, Chief of Communications; Min Jung Kim, Programme Specialist. KEUM Gi Hyung opened the talk with his remarks.Year2019NationSouth Korea
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How Asia Celebrates Buddha’s BirthdayFor Buddhists all over the world, Vesak (Vaisakha, Buddha’s Birthday or Buddha Day) is the holiest day of year. It commemorates the birth, enlightenment, and death of Siddhartha Gautama, or the Buddha. It is celebrated on different days in many countries, mostly on the first full moon day of May or 8 April of the lunar calendar.\n\nWhile cultural influences have characterized various differences with regards to the treatment of celebrations, a common thread binds them together, making this unbroken 2500-year-old tradition one of the world’s oldest birthdays.\n\nOfferings of prayers, joss sticks, and incense, as well as giving food to the needy and making donations reflect the more traditional aspects of the occasion, whereas the popular festivities that accompany them, such as parades and processions of vibrantly decorated floats add a contemporary flavor to one of the world’s longest standing birthday celebrations.\n\nPlace of Birth, Where Buddhist Pilgrims Gather (Nepal)\nNepal is the birthplace of the historical Buddha in the fifth or sixth Century BCE. Jammed packed with festivities, Buddha Jayanti (Buddha’s Birthday) observances in Nepal, commemorate not only his birth but also his enlightenment and demise and runs for a single day. At the Maya Devi temple in Lumbini, where Queen Maya Devi, the mother of the Buddha, gave birth, large numbers of national and international monks, including pilgrims from different cultures and religions, make the journey to offer prayers and to soak up the carnivalesque atmosphere resulting from the temple’s World Heritage status.\n\nIn Kathmandu, thousands flock to ancient Buddhist sites such as Swayambhunath temple, the oldest temple in Nepal, and the Boudhanath, the biggest stupa in Nepal, to join the colorful processions of musicians and dancers while prayers and offerings are made by Tibetan monks in much the same way as when it was part of a trade route between Lhasa and Kathmandu. Full moons are always auspicious occasions, but lighting butter lamps, spinning prayer wheels, and chanting mantras on this particular one is considered extra special.\n\nKasone Festival, Watering of the Bodhi Tree (Myanmar)\nIn Myanmar, Buddha’s birthday celebration is known as the full moon Kasone Festival. In the festival, water is a dominant feature, with devotees pouring water on Bodhi trees, the same species under which the Buddha gained enlightenment in Bodh Gaya, India, more than 2,500 years ago.\n\nPouring water on statues is a regular ritual in Myanmar, particularly on full moon days, and symbolizes purification, goodwill, and good luck. Kasone is an exceptional full moon, with religious verses recited at temples or pagodas throughout the country. Particular reverence is observed at the Golden Pagoda (Shwedagon Zedi Daw, the most sacred Buddhist pagoda in Myanmar) in Yangon, where devotees dressed in white chant mantras and circumambulate the pagoda clockwise while pouring water on the statue according to one’s day of birth.\n\nIn keeping with the water theme, fish are also released into cooler waters of lakes and rivers during the dry season, with the nearby Kandawgyi Lake and Inya Lake in Yangon being the most popular spots to observe this ritual.\n\nYeon Deung Hoe, Lantern Festival (Republic of Korea)\nIn the Republic of Korea, the most popularly celebrated event honoring Buddha’s Birthday, is the Yeon Deung Hoe (Flower Lantern Festival). Generally held on a Saturday night a week before the nationwide public holiday, the main artery of downtown Seoul is illuminated by vividly decorated lanterns in all shapes and sizes in a parade, drawing a crowd of enthralled onlookers.\n\nThis annual tradition is listed on their national intangible cultural heritage inventory. These days, this has become one of the country’s most popular festivals, pulsating with an eclectic blend of traditional and contemporary Korean culture.\n\nIn the days leading up to the public holiday, devotees hang colorful lanterns containing their heartfelt wishes in local temples. The piece of paper attached to the base of the lantern usually contains one’s wishes for good health, or prosperity, or for academic achievement.\n\nOn the day itself, which falls on 3 May in 2017, devotees visit local temples to make offerings of flowers, incense, and candles. Interpreted symbolically as radiating warmth into darkness, here the Buddha becomes a manifestation of the lantern light.\n\nPhoto : Buddhist monks march through downtown Seoul during a celebration for Buddha's birthdayYear2017NationSouth Korea,Myanmar ,Nepal