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Monument to Admiral Yi Sun-sin at Gwanghwamun Square.
Yi Sun-sin (April 28, 1545 – December 16, 1598) was a Korean admiral and military general known for his victories against the Japanese navy during the Imjin War in the Joseon period. Yi's courtesy name was Yŏhae (여해), and he was posthumously honored with the title Lord of Loyal Valor).
The exact number of naval engagements conducted by Admiral Yi against the Japanese is a subject of historical debate. However, it is generally accepted that he fought in at least 23 naval battles, achieving victory in all. In many of these engagements, he commanded forces that were outnumbered and poorly supplied. His most dramatic success occurred in the Battle of Myeongnyang, where he led a Korean fleet of 13 ships to victory against a Japanese fleet of at least 133. Yi died from a gunshot wound in the Battle of Noryang, the last major battle of the Imjin War, on December 16, 1598.
Yi is considered one of history's greatest naval commanders, known for his strategic vision, intelligence, innovations, and personality (see military evaluation). He is a prominent figure in Korean history, with landmarks, awards, and towns named after him, as well as numerous films and documentaries about his achievements. His wartime journals, known as the Nanjung Ilgi, are part of UNESCO's Memory of the World initiative.
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Monument to Admiral Yi Sun-sin at Gwanghwamun Square.
Yi Sun-sin (April 28, 1545 – December 16, 1598) was a Korean admiral and military general known for his victories against the Japanese navy during the Imjin War in the Joseon period. Yi's courtesy name was Yŏhae (여해), and he was posthumously honored with the title Lord of Loyal Valor).
The exact number of naval engagements conducted by Admiral Yi against the Japanese is a subject of historical debate. However, it is generally accepted that he fought in at least 23 naval battles, achieving victory in all. In many of these engagements, he commanded forces that were outnumbered and poorly supplied. His most dramatic success occurred in the Battle of Myeongnyang, where he led a Korean fleet of 13 ships to victory against a Japanese fleet of at least 133. Yi died from a gunshot wound in the Battle of Noryang, the last major battle of the Imjin War, on December 16, 1598.
Yi is considered one of history's greatest naval commanders, known for his strategic vision, intelligence, innovations, and personality (see military evaluation). He is a prominent figure in Korean history, with landmarks, awards, and towns named after him, as well as numerous films and documentaries about his achievements. His wartime journals, known as the Nanjung Ilgi, are part of UNESCO's Memory of the World initiative.
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Sejong Center for the Performing Arts
Sejong Center for the Performing Arts (Korean: 세종문화회관) is the largest arts and cultural complex in Seoul. It has an interior area of 53,202m².
It is situated in the center of the capital, on Sejongno, a main road that cuts through the capital city of the Joseon Dynasty. The center took 4 years to complete, opening in 1978. It was "built as a cultural center for Seoulites". It currently contains one of the biggest pipe organs in Asia.
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Monument to Sejong the Great at Gwanghwamun Square.
Sejong (May 15, 1397 – April 8, 1450), commonly known as Sejong the Great, was the fourth monarch of the Koreanic state Joseon. He ruled from 1418 to his death in 1450. He is widely regarded as the greatest king in Korean history, and is remembered for the creation of Hangul, the native alphabet of the Korean language.
Sejong's reign was marked by major developments in science, technology, medicine, agriculture, and the arts. Many such efforts Sejong not only oversaw, but actively participated in. In 1420, Sejong had the government research organization Hall of Worthies reestablished. It oversaw such projects as the creations of the first native Korean calendar Ch'ilchŏngsan, the 365-volume medical text Ŭibangyuch'wi, and the agricultural text Nongsa chiksŏl.
In 1419, Sejong launched the successful Ōei Invasion against the Japanese Tsushima Island. This was followed by decades of peace and trade between Korea and Japan. Sejong also expanded the northern borders of Korea to roughly its current extent by launching military campaigns against and assimilating the raiding Jurchens, although this region would remain problematic. He also maintained positive relations with Joseon's suzerain Ming while still asserting Korean autonomy.
Sejong made significant tax and land reforms, which resulted in increases in agricultural production and a reduction in tax rates, without significant impact to tax income. He also led a massive expansion in the influence of Confucianism in Korea and decrease in the influence of Buddhism. Despite his anti-Buddhist policies, he was privately Buddhist and increasingly vocalized his faith, which put him at odds with the Confucianists of his court.
Sejong had recurring and worsening health issues for much of his life. Beginning in 1445, he had the crown prince, the future King Munjong (r. 1450–1452), handle the daily affairs of government. Sejong died at the age of 52 in 1450 and is buried in the tomb Yeongneung.
Sejong is regarded as an icon of Korean culture in South Korea, where he has received numerous tributes. Sejong City bears his name. Several North Korean texts reportedly skeptically evaluate Sejong as a feudal oppressor.
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Gwanghwamun Gate – The Majestic Entrance to Seoul’s Royal Past
Standing proudly at the northern end of Seoul’s bustling downtown, Gwanghwamun Gate marks the grand entrance to Gyeongbokgung Palace, the largest and most iconic of Korea’s royal palaces. This stunning landmark, framed by the verdant slopes of Bugaksan Mountain, offers visitors a breathtaking glimpse into the heart of the Joseon Dynasty (1392–1897).
In the photo, the gate’s imposing stone base supports a graceful two-tiered wooden pavilion, crowned with traditional dark gray roof tiles that curve elegantly upward. The three red wooden doors symbolize royal authority and serve as the main passageways into the palace grounds. Above the central arch, a calligraphy plaque inscribed with the characters “光化門” (Gwanghwamun) proclaims its historical importance.
The foreground reveals a wide, beautifully maintained plaza where modern Seoul meets its heritage. Sleek paving stones, minimalist planters, and a clean pedestrian path guide visitors toward the gate. The area is lively but orderly, often filled with tourists, locals, and even guards dressed in colorful traditional attire during the Changing of the Guard ceremony, one of the most photographed events in the city.
Beyond the palace walls, Bugaksan Mountain provides a dramatic natural backdrop. Its forested slopes and distinctive granite ridges seem to cradle the palace, symbolizing the protective spirit of nature surrounding Korea’s royal heritage.
Whether you’re a history enthusiast, a photographer, or simply exploring Seoul’s cultural landmarks, Gwanghwamun Gate is a must-visit destination. The combination of grand architecture, mountain scenery, and rich tradition makes it one of the most photogenic and meaningful spots in all of South Korea.
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Japsang figures
On all Korean royal places such as Gyeonbokgung or Changdeokgung, you may see a school of small, cute, animal-shaped statues lined up on the edge of the eaves and wondered what they are and their purpose, as they don’t seem to match the ornateness of the palaces. These figures are called Japsang and, surprisingly, they are considered critical elements in the construction of royal palaces that elevate the level of construction.
Japsang were never seen during the Three Kingdoms Period (57 BCE – 935 CE). However, during the Goryo Dynasty (918 CE – 1392 CE), there are records, although rare and in dragon or monster shapes, about the use of Japsang. Drawings from this period vividly illustrates these small statues on top of palace buildings. This tradition would continue on to the Joseon Dynasty (1392 CE – 1897 CE) as Sungnyemun (also known as Namdaemun), first built in 1398 and is the first National Treasure of South Korea, has nine Japsang on the edge of its eaves. The number of Japsang is always an odd number, ranging from 3 to 11. The more, the better.
During the Joseon Dynasty (1392 CE – 1910 CE), which was under the influence of the Ming Dynasty (1368 CE – 1644 CE), Koreans began to place Japsang on high-class buildings such as palaces. It is believed that during that time, Koreans’ greatest fear was fire since most of the buildings were made of wood. Japsang, therefore, were believed to prevent fire in a shamanistic way.
Japsang are comprised of different animals – dragon, phoenix, lion, giraffe, sea horse, haetae (a mythical unicorn lion), and monkey – that are considered sacred and become guardians to the building. Although the origins differ, each of these animals has its own name. The first few animals, for example, were named after the characters in Hsi Yu Chi (西遊記; Journey to the West) such as Tang Sanzang and Sun Wukong according to studies from the early 20th century.
Through this, it can be inferred that the Koreans hoped Japsang would be strong like the protagonists in the story.
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Japsang figures
On all Korean royal places such as Gyeonbokgung or Changdeokgung, you may see a school of small, cute, animal-shaped statues lined up on the edge of the eaves and wondered what they are and their purpose, as they don’t seem to match the ornateness of the palaces. These figures are called Japsang and, surprisingly, they are considered critical elements in the construction of royal palaces that elevate the level of construction.
Japsang were never seen during the Three Kingdoms Period (57 BCE – 935 CE). However, during the Goryo Dynasty (918 CE – 1392 CE), there are records, although rare and in dragon or monster shapes, about the use of Japsang. Drawings from this period vividly illustrates these small statues on top of palace buildings. This tradition would continue on to the Joseon Dynasty (1392 CE – 1897 CE) as Sungnyemun (also known as Namdaemun), first built in 1398 and is the first National Treasure of South Korea, has nine Japsang on the edge of its eaves. The number of Japsang is always an odd number, ranging from 3 to 11. The more, the better.
During the Joseon Dynasty (1392 CE – 1910 CE), which was under the influence of the Ming Dynasty (1368 CE – 1644 CE), Koreans began to place Japsang on high-class buildings such as palaces. It is believed that during that time, Koreans’ greatest fear was fire since most of the buildings were made of wood. Japsang, therefore, were believed to prevent fire in a shamanistic way.
Japsang are comprised of different animals – dragon, phoenix, lion, giraffe, sea horse, haetae (a mythical unicorn lion), and monkey – that are considered sacred and become guardians to the building. Although the origins differ, each of these animals has its own name. The first few animals, for example, were named after the characters in Hsi Yu Chi (西遊記; Journey to the West) such as Tang Sanzang and Sun Wukong according to studies from the early 20th century.
Through this, it can be inferred that the Koreans hoped Japsang would be strong like the protagonists in the story.
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Japsang figures
On all Korean royal places such as Gyeonbokgung or Changdeokgung, you may see a school of small, cute, animal-shaped statues lined up on the edge of the eaves and wondered what they are and their purpose, as they don’t seem to match the ornateness of the palaces. These figures are called Japsang and, surprisingly, they are considered critical elements in the construction of royal palaces that elevate the level of construction.
Japsang were never seen during the Three Kingdoms Period (57 BCE – 935 CE). However, during the Goryo Dynasty (918 CE – 1392 CE), there are records, although rare and in dragon or monster shapes, about the use of Japsang. Drawings from this period vividly illustrates these small statues on top of palace buildings. This tradition would continue on to the Joseon Dynasty (1392 CE – 1897 CE) as Sungnyemun (also known as Namdaemun), first built in 1398 and is the first National Treasure of South Korea, has nine Japsang on the edge of its eaves. The number of Japsang is always an odd number, ranging from 3 to 11. The more, the better.
During the Joseon Dynasty (1392 CE – 1910 CE), which was under the influence of the Ming Dynasty (1368 CE – 1644 CE), Koreans began to place Japsang on high-class buildings such as palaces. It is believed that during that time, Koreans’ greatest fear was fire since most of the buildings were made of wood. Japsang, therefore, were believed to prevent fire in a shamanistic way.
Japsang are comprised of different animals – dragon, phoenix, lion, giraffe, sea horse, haetae (a mythical unicorn lion), and monkey – that are considered sacred and become guardians to the building. Although the origins differ, each of these animals has its own name. The first few animals, for example, were named after the characters in Hsi Yu Chi (西遊記; Journey to the West) such as Tang Sanzang and Sun Wukong according to studies from the early 20th century.
Through this, it can be inferred that the Koreans hoped Japsang would be strong like the protagonists in the story.
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Japsang figures
On all Korean royal places such as Gyeonbokgung or Changdeokgung, you may see a school of small, cute, animal-shaped statues lined up on the edge of the eaves and wondered what they are and their purpose, as they don’t seem to match the ornateness of the palaces. These figures are called Japsang and, surprisingly, they are considered critical elements in the construction of royal palaces that elevate the level of construction.
Japsang were never seen during the Three Kingdoms Period (57 BCE – 935 CE). However, during the Goryo Dynasty (918 CE – 1392 CE), there are records, although rare and in dragon or monster shapes, about the use of Japsang. Drawings from this period vividly illustrates these small statues on top of palace buildings. This tradition would continue on to the Joseon Dynasty (1392 CE – 1897 CE) as Sungnyemun (also known as Namdaemun), first built in 1398 and is the first National Treasure of South Korea, has nine Japsang on the edge of its eaves. The number of Japsang is always an odd number, ranging from 3 to 11. The more, the better.
During the Joseon Dynasty (1392 CE – 1910 CE), which was under the influence of the Ming Dynasty (1368 CE – 1644 CE), Koreans began to place Japsang on high-class buildings such as palaces. It is believed that during that time, Koreans’ greatest fear was fire since most of the buildings were made of wood. Japsang, therefore, were believed to prevent fire in a shamanistic way.
Japsang are comprised of different animals – dragon, phoenix, lion, giraffe, sea horse, haetae (a mythical unicorn lion), and monkey – that are considered sacred and become guardians to the building. Although the origins differ, each of these animals has its own name. The first few animals, for example, were named after the characters in Hsi Yu Chi (西遊記; Journey to the West) such as Tang Sanzang and Sun Wukong according to studies from the early 20th century.
Through this, it can be inferred that the Koreans hoped Japsang would be strong like the protagonists in the story.
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Sumunjang Parade
This photo captures a traditional ceremonial parade taking place on a city sidewalk in Seoul, South Korea. This looks like the Sumunjang Parade (수문장 행렬), where palace guards march from one site to another as part of a reenactment. It is a ceremonial performance held regularly in central Seoul to honor historical traditions. The participants are dressed in historical Korean guard uniforms, reminiscent of those worn by royal guards during the Joseon Dynasty. Their attire includes:
Long flowing robes in bold colors—mainly vivid red with blue sashes.
Black and red wide-brimmed hats decorated with large beads and tassels.
Many of them carry ceremonial spears or tall flags with bright patterns and tassels.
The procession is orderly, with people walking in formation. The expressions on their faces appear focused and serious, adding to the ceremonial atmosphere.
The surroundings show a clear contrast between tradition and modernity. The march is happening along a paved sidewalk lined with green trees. In the background are modern high-rise office buildings with glass facades, street signs, a tour bus, and pedestrians casually observing or walking by.
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View from the roof of our hotel Thomas Myeongdong
On the roof of our hotel Thomas Myeongdong (16hth floor).
Reservation was made 3 weeks in advance (Superior Twin Room $85.32/night).
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View from the roof of our hotel Thomas Myeongdong
On the roof of our hotel Thomas Myeongdong (16hth floor).
Reservation was made 3 weeks in advance (Superior Twin Room $85.32/night).
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View from the roof of our hotel Thomas Myeongdong
On the roof of our hotel Thomas Myeongdong (16hth floor).
Reservation was made 3 weeks in advance (Superior Twin Room $85.32/night).
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