Shijochang refers to singing a song with the lyrics of Sijo poem (Korean traditional poetry), also known as Sijo-si, Sidae-dan-ga.

The oldest record is a poem written by Lee Se-chun, a scholar of the "Seokbukjip" (pen-name: Seokbukjip) during the reign of King Yeongjo (r. 1724-1776). In the "Yu Yeji" and "Gura Cheolsageumjabo" published during the reign of King Sunjo (r. 1800-1834), Sijo's sheet music first appears. After that, due to the influence of the song, the composition of the poem was distributed and divided into local characteristics.

Naepoje sijo is a shijochang in northwestern Chungcheongnam-do. Naepo is presumed to have been named because it refers to Seosan, Dangjin, Yesan and Hongseong in Chungcheong Province.

The scale is composed of three-symmetric tones (a sad and mournful tone) and five-syllable tones (a clear and vigorous tone). The rhythm is not raised in the middle to maintain a sense of stability, and the end is dropped to leave a lingering impression, not falsetto, and a lot of decoration is used. Because they play a temporary instrument with a long or knee rhythm without an instrument, five beats are reduced in the end of the long and medium length.

Naepoje Sijo is a valuable piece of music that people have enjoyed singing for a long time.

Nubi is a method of sewing in order to put cotton, fur or mulberry paper between the outer fabric and the lining of cloth, or of broad stitching without putting anything between the outer fabric and lining to strengthen the cloth or to make it warmer. Nubijang refers to this skill or to an artisan with such a skill. The method became a common practice following the introduction of cotton growing. Some monks wore the same robe for tens of years, repairing it with this method. Nubi techniques developed to a point where even ordinary people came to adopt them.
Among the things needed for the work of nubi are thread that matches as closely as possible that used on the clothes or bedding, needles, scissors, a heating iron, a push stick, a measuring stick, and a thimble. Regular straight lines are chiefly used for the nubi work on clothes or bedding, but a mixture of straight and curved lines are also used to make a pattern when working on wrapping cloth or pouches.
The country’s traditional manual nubi sewing is said to be an artwork similar to embroidery, but it is gradually disappearing, as the work takes time and does not bring much economic benefit.

Wanchojang refers to a craftsman who has three levels of functions: the function of screening and processing after cultivation of a complete plant, the function of dyeing the plant with paint, and the function of reviving aesthetic elements with proper arrangement of dyeing finished plants.

It was recorded that the Wancho craft was used in the "Samguk Sagi" from Silla. During the Joseon Dynasty, the government office included Wanggol as one of the items that required public payment, indicating that Wancho crafts were very valuable.

Han Myeong-ja, a master of the Wanchojang, produces works with everyday artifacts that combine beauty and use, such as granite, bowl form, and octagonal box, and is also making utmost efforts to transfer the function of Wancho Craft.

The current Seo-gu area of Incheon, which passed through the Three Kingdoms and the Goryeo Period and reached the Joseon Dynasty, is recorded as Seogot-myeon, the 13th year of King Jeongjo's reign (1789).

Since then, the name of the administrative district has been changed to Seogot, and it has continued its long history and preserved its precious agricultural culture. The exact date is unknown, but the development of agricultural culture in the western part of Incheon can be inferred from the Joseon Dynasty or earlier.

"Seogot Deul Song" is a song that farmers in Seogot, Incheon used to sing for planting and gimaegi from a long time ago. The sound of mochi and rice planting is soft with the sound of a diagonal.

Maggie's sound is divided into a bee, two bees, and three bees, and consists of a short rhythm with a cheerful rhythm that empowers farmers and a long chorus.

In traditional society, nongak has three main ways of existence. First, nongak related to rituals such as dangsangut or yard treading, and second, nongak related to labor and play, such as duregut played in Gimmaegi with durekun, and third, pangut related nongak.

The current "Gabbi-gocha Nongak" is a pangut-style nongak related to play, and the main theme of this song is Nongsa-gut Nori, which reproduces farming work as a play.

These farming rituals are found in parts of Gyeongsangbuk-do and Gangwon-do, and are largely characterized by the preservation of similar nongak in Ganghwa, which is far from the region.

As one of the most popular songs from the late Joseon Dynasty to the early 20th century, it is said to be a song of professional entertainers, such as gisaeng, Sadangpae, and singers, to sing long editorials in technical musical terms, and is used as a concept that distinguishes it from folk songs, which are simple songs of non-professionals.

Whimori japga is a japga, which means driving fast, and is sung standing up. The editorial content of the Janghyeong Sijo is divided into three parts, and it is composed of humorous and interesting speech skills, and although there are many similarities with the private Sijo, it is distinguished between the rhythm and the singing style.

When the singers sang, they often sang a long japga at first, followed by a chorus, and then a whistle japga at the end.

The current Hwimori japga includes Gombo Taryeong, Sanmae Japa, Manhakcheonbong, Yuk Chilwol, Cloudy Day, Hanjan Buira, Byeongjeong Taryeong, Sungum Taryeong, Gisaeng Taryeong, Rock Taryeong, Bidan Taryeong, and Maengkong Taryeong.

Oeyeondo Dangje is a traditional ritual held on the isolated island of the west coast, which is held on February 15 of the lunar calendar every year.

Oeyeon-do Dangje can be seen as a typical example of folk beliefs on the coast of South Chungcheong Province, including a number of symbolic elements of traditional culture, and various sacrificial rites such as Dangje, Pung-eohje, and Jeonhaeng General's Sadangje are held, including ritual procedures and pungmul sounds with unique characteristics of the island area. These rituals are more popular because they have procedures for offering non-stated offerings, including tribute, cultivation, and shamanistic tales, without the introduction of Confucian texts.

The rite was held three times a year before the 1970s, but was later reduced to Jeongwolje Shrine in 1987 due to the voluntary will of the residents, but the ritual was held in accordance with the tradition.

With such diverse intangible cultural heritage elements, Oeyeon-do is an important religious material that represents the island area of South Chungcheong Province and shows the differentiation of mountain gods and human gods amid changes in religious needs in terms of Korean folk beliefs, so 이므로span class='onmouseover='onmouseover='up2 (2060)' is onmouse.

A gong is one of the percussion instruments, also called gilt or simply gold. It is a musical instrument widely used since ancient China. It was imported from the Ming Dynasty of China during the reign of King Gongmin of Goryeo (1351-1374), and was widely used in Jongmyoak, Muak, Beopak and Nongak.

The gongs are made by melting them in a weight ratio of 160 copper and 43 cinnamon, and are produced in a group by Daejeong, Gajidaejeong, a front hawker, a reseller, a Senmae, and a puller.

The production process is the order of brass rusting, elongating, dopping, potting, wrapping, dangling, crying, Gaji, and Jaewool, which is a sensitive work that makes a completely different sound with a hammering.

Jing's life is in sound. Depending on the region, there are many different sounds, such as the buzzing, the bending, the long ringing, and the rising sound of the sound of the end. The sound of a proper gong has a deep and long afterglow and deep appeal, and this is what Kim Chun-jing's sound is characterized by.

Kim Il-woong, a holder of jingjiang functions, has been continuing Kim Chun-jing's cycle for more than 40 years by setting up a farm instrument factory in Gimcheon's Hwanggeum-dong drug bet after learning the technique under his grandfather, who has been making gongs in Hamyang for four generations.

Nongyo is a song that is sung to forget fatigue and improve efficiency while working on rice paddies and fields, also known as wild songs or farming sounds. Singing individually or collectively as one of the folk songs, the song may vary depending on the region.

Yecheon Gongcheo Nongyo was a labor song that was widely passed down around the Nakdonggang River coast. It was a remote inland village, so it was a pure folk song sung only in this village without mixing with the influx of neighboring cultures.

The contents are composed of rice planting songs, non-maggi sounds, threshing sounds, geolchae sounds, and ching chingi (Gaeji Na Ching-ching is composed of rice seedlings, rice paddies, threshing sounds, threshing sounds, etc. The song "Mosimgi" is sung by planting rice seedlings, while the sound of rice paddies is tied to rice paddies, and the threshing sound is a song sung by Tsing Chingi as she comes out of the field after rice paddies. This folk song is said to be the most primitive form.

The Yecheon Gongcheo Nongyo has been handed down with a local color and contains the sorrows and joys of farmers. Hwang Ki-seok, the art holder who lives in Pungyang-myeon, Yecheon-gun, continues his career.

One of the folk games handed down in Dongnae area is a form of folk belief-like village exorcism that soothes the spirit and repels evil spirits.

Jisinbapgi is a kind of mask parade that has been performed on the fifteenth of lunar January for a long time. It is religious to pray for the peace of the village and family and to pray for a good harvest of the year. The current Dongnae Jisinbapgi was reconstructed from the late Joseon Dynasty into a circular shape and refined into a folk game from around 1970.

Dongnae Jisinbapgi prepares musical instruments, costumes, and tools in December of the lunar calendar, and it is composed of 35 people from all classes of Joseon Dynasty, including four daebu, catcher, Hadong, and Gaksi, to practice playing. The nobleman is qualified for general command, and Hadong and the catcher serve as the counterpart to boost the excitement. The humorous lines of Hadong and the catcher against the nobleman contain satire that ridicule the nobleman.

The play consists of the four madangs of Jusan Jisinpuri, Dangsan Jisinpuri, well Jisinpuri, and Saengwonjipnip Jisinpuri. They hold ancestral rites in Jusan and Dangsan, and then come down to the village to hold a rite in the village well spring. Finally, Jisinbapgi is performed from house to house. If you step on the authority, the landlord offers liquor, grain, and money as examples, and grain and money are spent on joint projects in the village.

Unlike other folk games, which focus on pungmul nori, Dongnaeji Sinsinbapgi is characterized by a gutgeori rhythm and a deobaegi dance. Currently, the Busan Folk Arts Preservation Association and Jeongsu School are striving to transfer and distribute the art.

Baek Gwang-hoon has passed down the Onggi manufacturing method in Yeongdeok region over a number of generations, adhering to the traditional Onggi manufacturing method, and has been making Onggi on a single road for more than 40 years. Moreover, it is the last bastion of Onggi-il in Yeongdeok, North Gyeongsang Province, where Ong-saeng was the most successful.

The sound of bier Didylbanga Liquid Membrane was a method of "civil belief" to prevent diseases when infectious diseases were prevalent and human lives were lost during the dynasty when medical techniques were not developed. It may be futile for modern people with advanced medical skills, but our ancestors believed that this could prevent and cure diseases.



The ritual of folk belief was accompanied by "Sound," which was referred to as "Geochang Sangyeo Didilbanga Liquid Sound" or "Geochang Didilbanga Liquid Sound."

There are five types of traditional Korean rituals: Sangju Kwon Gongjae, Saengjeon Jesusjae, Siwanggak Baeje, Yeongsanjae and amphibious landing materials.

The Sangjugwon Public Property Office is the smallest of its kind, and the Biographical Precipitation is a ritual performed in advance in the hope that the living person will pray for the souls of the dead after death, while the Siwanggakjae is a medium-sized one, and the Yeongsanjae is often held on land and land to honor the thousands of important people in the country and the institution. As the purpose is different, the type of 齋壇 that is installed for this purpose varies, and the order and contents of the ashes are changed accordingly.

National Intangible Cultural Heritage No. 127 "Bottom Landing Material" and "Yeongnam Yeongsanjae" were designated separately because their purposes and contents are different.

Yeongnam Yeongsanjae's panhandle embodies religious, historical, cultural, and locality along with its artistry, including Buddhist rituals and ritual songs that have been carried on since the Silla Dynasty, instrumental accompaniments such as gongs, drums, and kkwaenggwari, and various types of kkwa.

Therefore, the beauty of Yeongnam Yeongsanjae can be found in religious, historical, and cultural values along with its artistic value. These artifacts were designated as intangible cultural assets for continuous succession of genealogy and preservation and management of local cultural heritage.

A pencil case refers to a person who makes a brush, which is one of the literary sources, and its technique.

The brush shall contain ink but be uniformly radiated, have no durability and no cracking of the pen tip that can withstand wear for a long time, and maintain elasticity and flexibility.

The hair of several animals, including sheep's armpit hair, weasel tail hair, and hare hair, is used as a material to meet these conditions, and the colder the animals in the inland, the better the quality.

The brush's composition consists of a hunch and a brush, and in the case of a large brush, a corals connecting the brush and brush strokes, which mainly use bamboo, and a large number of oak trees.

The making process of the brush consists of a complex and delicate process of screening-de-dissipating-static-wool-moly- denominator-body and tactile-push insertion. Kim Jong-chun, a functional holder, has been engaged in traditional craftsmanship since his teenage years, especially in the production of yellow hair made from weasel tail feathers and long-heat brushes using female-noru armpit hairs.

Buddhist paintings mainly produce tangs for worship and enlightenment, which express Buddhist doctrines in a conversational way.

The 15th Intangible Cultural Heritage of Busan, Gwon Yeong-gwan, is a Buddhist cremator who clearly proves his relationship with the Buddhist monk. His father, Kwon Jeong-du, was transferred from Yang Wan-ho, a great Buddhist mother who left many Buddhist paintings in Gyeongsang-do, including Busan, in the early 20th century, and produced outstanding Buddhist paintings and sculptures nationwide, while Kwon Yeong-gwan was transferred from his father again.

It was first introduced in 1962 and has been engaged in the production of tangs for 46 years in Busan. In 1972, he won the Excellence Prize for painting in the Buddhist Painting section of the 3rd Buddhist Art Exhibition hosted by the Jogye Order of Korean Buddhism, and won the Best Prize in the 4th edition in 1973, and the 5th edition in 1974, the following year, he won the Special Prize.

In addition to Buddhist temples in Busan such as Beomeosa and Samgwangsa Temple, there are more than 50 of his major works enshrined in Buddhist temples across the countrywide. In his writings, eight passers-by are currently working to pass on the function of Buddhist painting production.

In addition, the traditional methods of making Buddhist scriptures are faithfully followed by the traditional methods of making them, along with the ability to embody the contents of Buddhist scriptures in Buddhist scriptures. On December 16, 2008, it was designated as Busan Intangible Cultural Property No.15.