Records tell us that on the Korean Peninsula, embroidery started during the Three Kingdoms Period (circa 57 BC – 668 AD). During the Goryeo Period (877 – 1394), the practice became so widespread that it was adopted even on the clothes of ordinary people. As a result, embroidery was prohibited several times. With the start of the Joseon Period (1392 – 1910), the practice developed further and was divided into royal embroidery, exquisitely made by skilled court ladies, and the others. Looking at how a piece of embroidery is made, first the cloth to work on is fixed onto a frame and a rough sketch is made on it. Upon the completion of embroidery, the frame is shaken to remove dust. Then, a thin layer of paste is applied to the back of the embroidered surface so as not to let the stitches scatter. The embroidered piece is then placed in the shade to dry and removed from the frame. Embroidery has developed as a reflection of Koreans’ living environment, customs, and beliefs.

Yi Man-hui, a Yeonan clan member, had a close relationship with the royal family, with her ancestors attending "Jidadai" (a royal inspector). From his mother, the eldest daughter-in-law, to the wedding exhibition, he learned how to make traditional rice cakes and other traditional foods.

He has lived in Daejeon for more than 40 years since his marriage to Gwangsan Kim, and has continued the tradition of wedding food culture by making rice cakes and other food. Among his food manufacturing functions, various types of rice cakes, such as white rice cake, honey rice cake, and Shingum vinegar rice cake, were one of the most representative rice cakes in the Joseon Dynasty, which were referred to as white rice cake, wheat cake, and shingam vinegar rice cake.

According to the records of the Joseon Dynasty's royal court, the white rice is made of spicy rice, glutinous rice, stone mushrooms, pine nuts, chestnuts, jujube, chestnuts, pine nuts, and honey, and the sweet and sour chocolates are made of spicy rice, glutinous rice, vinegar powder, jujube, pine nuts, and honey. These ingredients are decorated with jujube, chestnut, and pine nuts on top of sesame oil-based hanji, and Lee Man-hee's adaptation inherits the Joseon royal family's recipe for rice cakes.

Baekpyeon, etc. was originally used in royal banquets combined with the development of tea culture. It was a typical rice cake made of spicy rice used with malcha in the Goryeo Dynasty and green tea in the Joseon Dynasty. It was a must-have tribute to Jin Chan-yeon of the Joseon Dynasty, combined with the tea ceremony, the essence of Yeonhui.

Gurye Jansu Nongak is a nongak handed down from Sinchon Village in Sinwol-ri, Gurye-eup, Gurye-gun, and has the characteristics and characteristics of Honam Jwa-do Nongak.

This nongak is basically composed of Dangsan Jemanggut, Madangbapgi, and Panggut, and it retains its tradition as a village rite. Dangsan Jemanggut consists of a farming band performing a ritual at 10 a.m. every year on the day of the first lunar month.

After this rite, the Nongak band went to each house in the village and played Madangbapgi to defeat the evil spirits, which led to the participation of all villagers.례 Gurye Jansu Nongak is not handed down by a professional nongak group, but is a village nongak, which is run mainly by villagers. In the past, Jansu Nongak was so famous that its reputation was known not only in Gurye but also in neighboring Suncheon and Namwon.

In the past, documents related to the operation of nongak are also presented, including the "Nongakwi Family Rule" and the "Nongakwi Family Gyejae Reservoir" written since 1954, which record the principles and financial status of nongak.

The Korean traditional music is composed of sijoshi (Korean traditional poetry) and sung to orchestral accompaniment. It is also known as 'span class='xml2' onmouseover='up2 (2487)'onmouseout='dn2()'dn2((an)삭삭노노노노노>>>>>' or '노.'

It is known that the original version of the song was not sung in the late Joseon Dynasty, when the song "Mandaeyeop," "Mandaeyeop," or "Mandaeyeop," was lost before the reign of King Yeongjo (1724-1776). The current song originated from the fast-paced song "Sakdaeyeop," which appeared in the late Joseon Dynasty, and is composed of a collection of songs that are related to the melody.

The song is divided into five chapters, with a prelude, a rental note, and a second, third, middle, fourth, and fifth chapters. Very organized and well-organized. If you look at the rhythm, there are 16 beats of slow speed and 10 beats of fast speed of "pyeonjangdan." The performance consists of Geomungo, Gayageum, Haegeum, Daegeum, Danso, and Janggu.

Lee started learning Yeochang song and sijo from Han Yang-su, an intangible cultural asset of Jeollabuk-do, and has continued to communicate and engage in activities with local politicians. In addition, as a professional who majored in Jeongga in college, he combined theory and practical skills, and was recognized for his skills through seven solo concerts.

Fraud means a person or a person who makes a bowl form by mixing white clay, etc., and then makes a bowl baked at a high temperature of 1300°C or higher.

In the late Joseon Dynasty, when government-controlled ceramics were closed, potters scattered across the country, and folk songs (where ceramics are made in the private sector) flourished in the provinces.

Banggok-ri, Daegang-myeon, is also widely known as one of the places where folk pottery was produced during the Joseon Dynasty, and potters who are still making traditional pottery are still active.

In particular, Seo Dong-gyu, a functional holder, was born and raised there and has been devoted to making starch. In the early days, tea cups centered on Dawan were well received by Japanese favorite artists, and melodies were reproduced using natural yuak.

Banggok-ri Melting has a unique characteristic that it does not spoil, cool quickly, and does not stick to the fat.

In addition, the intense lines, majestic shapes, and delicate yet soft droplets that appear during baking in a pine fire kiln are aesthetic expressions that no one can imitate.

The production process is as follows.

1 Prepare to remove firewood with pine trees directly removed from Hwangjeongsan Mountain

2 Mud mixing (making sand soil) with soil enriched with granite

3 Digging the sand and putting it in the water

4 Rinse out the water a few times

5 Drying soil

6 To knead and knead dry earth

7 Molding on a dough spinning wheel

8 Use fire above 900°C for 3 hours

9 Apply glaze made of lye (because it is fragile)

10 Cooking glazed bowls for 16 hours on a light fire

11 Applying ashes to burn elm trees



* Functional holder Seo Dong-gyu

Seo Dong-gyu was born in Danyang, North Chungcheong Province, in 1938 and entered Banggok pottery in 1956. Starting with the Gyeonggi-do Folk Art Competition, he will participate in various exhibitions, including the Dong-A Art Festival's entry into the craft section, the Korea Art Exhibition's special selection of the craft section, the Korea National Exhibition, the Korean Traditional Ceramics Exhibition at the Hawaii Invitation Hall in the U.S., and the Tokyo Exhibition in Japan.

In 2000, he was awarded the Minister of Labor's Commendation, and in 2001, he was awarded the Prime Minister's Commendation. By 2002, he was selected as Chungbuk Intangible Cultural Property No. 10. His family has made pottery since his grandfather's unit, and Seo Dong-gyu has been making pottery for three generations.

Dansojang refers to a person who makes a Danso or a technique, and Danso is an instrument of wind and wind.

Use Hwangjuk or Ojuk as ingredients for making Danso. The production method is to boil bamboo in salt water for about 10 hours to remove oil and then apply heat to straighten out the bent part. Then soak it in cold water for about 10 minutes and let it dry for more than three months in a well-ventilated shade. The dried bamboo is cut 500mm long, cut back 420mm, then make a half-moon-shaped Chuigu and pierce the ground. Chuigu is the place where the breath is breathed, and Jigong is the part where the fingers control the pitch.

Dansojang was designated as an intangible cultural asset for the protection and transfer of traditional craftsmanship. Kim Hwang-jung inherited the Danso production function from his late father Kim Yong-shin.

A fragrant liquor mixed with azalea petals, azalea flowers are also called dugyeonhwa, or dugyeonju.

There is a legend related to Bok-gyeom, a founding contributor to Goryeo. His young daughter went up to Mount Amisan and prayed for 100 days when she could not recover from all the good medicine she had taken. A new vessel appeared and said, "It is only effective if you make alcohol with azalea flowers blooming on Amisan Mountain, but it is made of water from Ansam (now behind Myeoncheon Elementary School) and drink it 100 days later and plant two ginkgo trees in the garden." The daughter said that her father's illness was cured when she did it the same way.

The color of the alcohol is light yellowish brown, sweet and viscous, with little sourness and noy smell, and the smell of azalea is excellent. The alcohol level is about 21 degrees. It is said to be effective in promoting blood circulation and recovering from fatigue, especially in preventing adult diseases by lowering cholesterol. However, azalea's flower wine contains toxic substances, so be careful not to mix it with the wine when you soak it.

It is a traditional liquor made from generation to generation at the richest man's house in Gyodong, Gyeongju, North Gyeongsang Province. Choi Guk-jun was the first person to make Gyeongju Beopju, and he was said to have served as the chief monk of Saongwon, who was in charge of royal food during King Sukjong's reign (1674-1720).

When making Beopju, the well in the Choi family's yard is used. The amount and temperature of the water are almost constant throughout the four seasons, and it has long been known for its good taste.

When you make alcohol, boil the water and cool it down. The main ingredient of Beopju is the native glutinous rice and pure grain made of water, yeast and rice, the color is bright and transparent, and has a distinctive fragrance, sweetness, and a slight sour taste. The alcohol level is 16-18 degrees.

The biggest feature of the manufacturing method is that the understatement is first made, and then, based on this, the second fermentation process is carried out to ripen the original liquor. Therefore, it takes about 100 days to manufacture and can be stored for more than a year with the temperature alone.

Wooden woodblocks engraved with letters or pictures on wooden boards are called individual or calligraphy, and woodblocks are called woodblocks for printing purposes. The process of printing letters in reverse and printing them according to the printing method is also called each person, and the person with the technique is called each person's own head or head of angle.

Each of them had a front-line period centering on the temple, with the Silla Dynasty's "Mugujeonggwangdae dalani Sutra," known as the oldest woodblock-printed book, and the existing "Palman Tripitaka Koreana." During the Joseon Dynasty, many woodblock prints were published, including the original Hunminjeongeum. Each chapter's ability is measured by traces of dead skin cells, the balance of letters, and the absence of incorrect letters or strokes. If something is wrongly carved, only the wrong part of the letter is dug up and another tree is cut in and carved again.

On the other hand, it is common for buildings in various palaces, temples, and temples to hang signboards on trees, and most buildings were hung with signboards. It was also the job of each leader to make an angle.

In the late Joseon Dynasty, there was a very low level of sophistication, but there was no alternative to woodblock printing, so it was still highly dependent on woodblock printing. Later, with the introduction of Japanese colonial era photography and new printing, traditional woodblock printing quickly disappeared. In recent years, the introduction of Western printing techniques has led to rapid decline, leading to the continued existence of wooden-floored plaques carved on the signboard of the building and the inscription of a famous calligrapher.

Byeorujang refers to a craftsman who has the skill or function of making a inkstone.

Yoo Gil-hoon (born 1949, 68 years old) began his career in March 1967 under the late Kim In-soo, the master of the Sangsan Dam in Jincheon, North Chungcheong Province. He worked at the foot of Mt. Duta in Cheongju, where the material of the inkstone was made, and came down to Gyeongju in 1993 to find a better one. In 2001, he found the best one in the Bangudae area of Eonyang-eup and settled in the current workshop and has been making the inkstone for 15 years.

Eonyang inkstone is two types of yellowish and dark red, and is widely used as a type of inkstone, spspan class='xml2' onmouseover='up2(3733)'onmouseout='dn2()'dn2())spspspan>pan>g>g 강g 강gayobos(s 흑 흑 흑((((((((((((()))))(((())((()))))))))))))))))))))))) This compares with China's spspan class='xml2' onmouseover='up2(1057)' onmouseout='dn2()'dn2()단계단계단계단계단계단계단계단계단계단계단계단계, which is slightly lighter than the red phase and stronger than the green phase. It is said that the particles of the stone are not murky, the ground ink is not permeated by the stone, and the writing is glossy. It is often said that a stele can be eaten with breath, but this can be done with Eonyang inkstone.

The tools for making inkstone include hammer, chisel, gumegae, furry, saw, push, carving, abrasive stone, sandpaper, lacquer, etc. The inkstone work is carried out in the stage of collecting stones →Wonseok Foundation→Sangsaing→Painting밑Painting조각Painting→Painting→Painting조각Gwangtaeking. Yoo Gil-hoon has a number of traditional tools that have been used since the late Kim In-soo's apprenticeship, and is still using traditional tools in the entire process from roughing to finishing after collecting the stone.

Yu Gil-hoon's inkstone inherited the tradition of the Sangsan Bamboo in Jincheon, and Yeonsu ( 부분: the grinding part of the food) was dug a little deep so that if it stopped, the ink would be concentrated in the middle, and if possible, the lotus paper (where water was stored) would not contain any carving or patterns. This is because if you put a pattern here, there will be food scraps between the pieces and the patterns. Also, the surface of the surface is not angled as much as possible and is shaped like a circle or curve, which is also to prevent any ink residue from getting stuck in the corners. In addition, the pancake of the inkstone was cut in half into bamboo so that the ink could flow inside without overflowing.

The representative patterns of Yoo Gil-hoon's inkstone are various, including the dragon, phoenix, hawk, egg, soup, porridge, Ten Jangsaeng, grape, painting, Ilwolyeon, and Sansuyeon, which are related to Ulsan or Bangudae. The size of the inkstone is usually about 40 to 60 centimeters, and it is characterized by a large realistic and three-dimensional pattern. Also, the shape of Danyang Bamboo in Danyang-gun, North Chungcheong Province, which uses "span class='xml2' onmouseover='up2 (4394)' onmouseout='dn2()((sp magnets using magnets such as </span>, has a three-dimensional lid, compared to the fact that it emphasizes decorative beauty.

Dodangje is a representative branch of village belief that is passed down around Seoul and Gyeonggi-do. Although the detailed religious form and ritual procedures of the Dodang system vary depending on the region, the commonality can be found in the structural aspect of bringing the village god back to Jejang. Samgaksan Dodangje also has a structure in which a dokdang father and a dokdang grandmother are enshrined and sent back after a ritual.

It is a stock without a holder, and on November 4, 2010, the Triangle Sandodang Preservation Society was recognized as a holding organization.

※ For detailed information on the above cultural assets, please refer to the Seoul Metropolitan Government Department of Historical and Cultural Heritage (202-2133-2616).

Byeolsingut refers to a rite to pray to Seonghwang (Seonang), the guardian of the village, every three, five, or ten years for a good harvest of peace and farming in the village.

About 500 years ago, Hahoe Village in Andong, North Gyeongsang Province, performed a byeolsingut to Emperor Mujinsaeng on the fifteenth day of the New Year (December 15) every 10 years, and played mask games to entertain him along with the exorcism.

Hahoebyeolsingut Talnori consists of eight madangs of Mudong Madang, Jujumadang, Baekjeong Madang, Halmi Madang, Pagye Seung Madang, Yangban, Seonbi Madang, Honrye Madang, and Sinbang Madang.

Before the game begins, the day after the beginning of the first lunar month, if you go up to the cathedral, grab the descending pole with the sugar droplets, and lower the Holy Spirit, you move the sugar droplets to the Seonghwangdae and come down from the mountain. If Seonghwangdae and Naerimdae are built against the eaves of a verb, the play begins.

The characters include Ju Ji-seung, Gaksi, Jung, Yangban, Seonbi, Cho Rang-i, Imae, Bunae, Baekjeong, and Halmi. The book is based on ridicule of Pagye-seung and biting satire and interpretation of the nobleman.

Hahoe Byeolsingut Talnori has a ritualistic nature. In particular, Gaksital is believed to be a substitute for Seonghwangsin, and only Byeolsingut is to be seen. When taking it out, the ritual must be performed.

The masks used for the game were made of 11 kinds of 10 types of duckwood, including jija mask, and the original was designated as Hahoe mask and Byeongsan mask (National Treasure No. 121) in 1964 by applying lacquer and pigments in two or three layers.

The accompaniment of mask play is performed by a pungmul player with a gong-gwaengi at the center, and dance moves with a little bit of dance moves mixed with improvisation and routine movements.

Hahoe Byeolsingut Talnori is characterized by the lack of a back-to-back party enjoyed by burning masks, and is valuable as a valuable source of information on the origin and origin of mask dramas in Korea.

Ogwangdae refers to mask dance in the southern part of the country, and it is widely believed that the name Ogwangdae comes from Ohaengseol. This game is played on the night of the fifteenth of lunar January, during which the ritual of Cheollongje was held on the first day of the first lunar month, and then the jisinbapgi was performed.

The origin of Gasan Ogwangdae was that a box adrift on the beach of Gasan 100 years ago, and when residents opened it, it contained documents containing the lines of mask and play, and the mask was stored in the ark and used only for play.

Gasan Ogwangdae Nori consists of six madangs of Obangsinjangmu, Yeongno Dance, Mundung Dance, Yangban Dance, Halmi Dance, and Yeonggam Dance, reflecting the life of the people, satire about yangban and pagyeseung, and the problems of wife and concubine.

The characters include a total of 30 characters, including General Obang, Yeongno, Yangban, small yangban, Maltuki, Mundoong, Oldjang, Sangjwa, Seoul Baby, Somu, Halmi, Madangso, Yeonggam, Ongsaengwon, and Mudang.

Gasan Ogwangdae is the only Ogwangdae in the country where the dance of Obangsinjangmu remains, and the only Ogwangdae where inspiration dies, not Halmi.

In addition, one or two other Ogwangdae characters, but in Gasan Ogwangdae, five people come out to dance and play Jangtaryeong and Tujeon.

Seonghwangje is a communal ritual for the village that has been handed down from the gray area of Seonggok-dong, Danwon-gu, Ansan. This village ritual is considered to have specific characteristics in that it has the characteristics of a holy emperor.

Seonggok-dong Jehommeori Seonghwangje is a village rite held by the residents of the village to pray to the guardian deity for good health, good health, and good harvests. The shrine houses Hong, the last king of Silla, and his mother-in-law, Ahn, as a village religion dating back to the reign of King Seongjong of the Goryeo Dynasty.

It is handed down in the form of village ritual, and residents of about 10 villages in the vicinity, including Anmal, Doranmal, and Beolmal, are participating in the rite in early October every year.

The Samhyeon Yukgak is accompanied by Janggun, Sinjang, Daegam, Daeshin, and tightrope walking.

There is a legend that during the reign of King Seongjong of the Goryeo Dynasty (982-1997), the inner poet, Seo Hui, met a storm on his way to Song Dynasty, and he built a shrine and carried out his mission safely to release the sorrow of the spirit (Rain Hong and Ahn, the mother of King Kim Dae-dae, the king of Gyeongsun) that appeared in his dream.

Seonggok-dong's gray-headed holy emperors have been held twice a year to greet the spring and autumn shingok. It is said that the Seonghwangje Festival was much larger than the Seonghwangje Festival, which took several months to greet the new song of autumn.

The Hoemori Seonghwangje is of important value in that it is a joint ritual with a village nongak band in the form of the emperor.

Onggi is a general term for earthenware and earthenware, and onggi is a pottery that does not have a glaze, and onggi is a pottery that is made of glaze, which corresponds to a narrow meaning.

Unglazed pottery was the main focus until the Goryeo Dynasty, but from the mid-Joseon Dynasty, black-brown pottery with onggi was produced, and glazed pottery became common in the late Joseon Dynasty.

Records show that large earthenware jars, called "Ong," were used to store or store liquids or foods such as alcohol, water, soy sauce, and salted fish before the Goryeo Dynasty. It was recently discovered that large quantities of pottery jars excavated from the Taean Mado Sea were used to store water or transport salted fish.

During the Joseon Dynasty, pottery craftsmen were referred to as "gongjang." According to the "Gyeonggukdaejeon" exhibition factory, 104 of them belonged to 14 central government offices and produced pottery needed by the royal family and government offices.

Pottery, including onggi, was used in a wide class from the royal family to the private sector and developed with regional characteristics in relation to climate or use.

Kim Il-man, who was designated as an intangible cultural asset in Gyeonggi Province in 2002, is from a family that has been making pottery for six generations and has devoted himself to making traditional pottery in Gyeonggi Province using three traditional kilns from the late Joseon Dynasty.

In 2010, he was promoted to the state-designated Important Intangible Cultural Property No. 96, and his sons, Kim Seong-ho and Kim Yong-ho, were designated as messengers, continuing the tradition of Onggi production in Gyeonggi Province.