Lee Kang-ju, a representative native of our hometown, is believed to have been successful since the mid-Joseon Dynasty. As for the manufacturing methods and taste of rice wine, it is well illustrated in 16 executive papers, Dongguk Sesigi, and Myeongju in Korea.

Jeonju Yi Gangju first distills 30 degree soju using clear and clean water, wheat and white rice. Then, apply each extract of 20 grams of ginger, 3.75 grams of cinnamon and 7.7 grams of turmeric, as well as 5 juices in 30 degree order, and then combine them again with 600 milliliters per fructose to complete. Lee Gang-ju, which is made in this way, is loved by many people to this day by day.

He is also a carpenter who is responsible for the supervision of construction as well as the technical design of building and trimming timber in the construction of a house with wood materials. He also refers to a potter who constructs palaces, temples, and military facilities. The head of the ranch is distinguished from the small ranch in charge of small-scale carpentry, such as doors and handrails, and is responsible for the completion of the house by joining forces with the head of the wajang, dejab, Seokjang, Mijang, and Dancheong. Government posts were given during the Unified Silla, Goryeo, and Joseon periods, but today, the art of plowing has been passed down to the construction of temples, seowon, Hyanggyo, and traditional Korean houses.

Because the technique is strictly inherited, the gate is formed.

A gate is a technique in which a family is created, and a burial ground in the gate has absolute authority.

He introduced traditional architectural techniques from his grandfather Shin Seong-jip (1877-1954), his father Shin Hyuk-mook (1921-1968), when he was 19 years old, and engaged in activities for transfer and research. Since 1999, his second son, Shin Tae-seon, has also joined the training program.

Artistic aspects and characteristics include the use of traditional Korean materials, following the traditional wooden building process during the production process, and the use of drying techniques using smoke and flame inherited from one's father during the process of chi-mok. The characteristic of the tree is that each architecture does not have the same motif, creating a creative and decorative expression. In particular, design drawings that are difficult to see in other artisans are being prepared and constructed, and drawings drawn from 20 years ago have been kept. This is different from other artisans who draw professional designs themselves.

Gimun Gate has been codified for generations to carry out active transfer and research activities, and it shows a local tradition to preserve the characteristics of the region and maintain its traditionality. In terms of art, the use of traditional materials, the production process of traditional wooden architecture, the drying technique inherited from the father of the tree process, the representation of the design of different patterns, and the design drawings are directly drawn and constructed.

Lee Jong-deok was born in Buyeo, South Chungcheong Province in 1961, and was studied by Kim Yak-hwan, Lee Bong-ju, Park Im-mo, Song Gwang-ho, Park Il-dong, and Gwak Seon-jae, and won prizes at the Jeonseung Craft Competition and the Jeonbuk Craft Competition.

Abandoned means a brass bowl, of which Bangjja Yugi is made by mixing 78% copper and 22% tin, then melting it and tapping it. The origin of brass dates back to the Bronze Age, during the Iron Age and the Three Kingdoms Period, and came to the Goryeo Dynasty, focusing on Buddhism and the upper classes, and during the Joseon Dynasty, ordinary people also used it. Bangjayugi was one of the most representative native products in North Jeolla Province until recently, and the "Gyeongguk Daejeon" also had strong anti-soil cultural characteristics, with records showing that its foreign factories were located in Jeonju and Namwon. In particular, until 6.25, organic production was active in North Jeolla Province, including Namwon, Unbong, Jeonju, Imsil, Jeongeup, and Gunsan, and Jeonju and Iksan.

Since Korea does not have a salt producing area, salt is produced from ancient times to the present using seawater as the raw material. Records of producing salt can be found from the Goryeo Dynasty, and the Cheonil Salt Farm, which has continued to date, was introduced in 1907 and lasted for more than 100 years. The biggest feature of the mudflats is that they were formed in mudflats, and Korea accounts for 86% of the world's tidal flat natural salt production. In addition, the unique characteristics of Korea can be found in the belief that salt prevents fire and eradicates injustice. In the future, research on salt production methods and working structure will greatly contribute to the academic research on fishing village culture and the ecology of mudflats in Korea. In addition, the mudflat salt field on the west coast creates a unique landscape along with the fall tide.

※ Since decontamination is not a traditional knowledge or technique that is passed down only to a specific region, it is not recognized as a holder or organization and is designated as a sport only.

Based on the fact that the ondol culture of the Korean Peninsula originated from the primitive form of heating system, which was installed in the Wonsamuk Dynasty through the Bronze Age, and that the ondol culture of the Korean Peninsula was discovered throughout the Korean Peninsula from the 3rd to 1st centuries B.C., it is estimated that the ondol culture of the Korean Peninsula was inherited for more than 2,000 years.Unlike a Western fireplace, our ondol has the advantage of being able to heat the room for a long time without generating smoke, as it is characterized by a fire-retardant floor heating that sits on top of the fire, rather than sending smoke directly to a high chimney.

Ondol culture is Korea's overall residential culture, which includes not only floor heating and eco-environment utilization technologies, but also Korean living customs and norms. This lifestyle was popularized as an "ondol room" culture representing Korea, affecting not only housing, interior architecture, and furniture, but also popular culture.

Marubang in response to the climate environment in summer and Ondolbang in winter are representative residential elements of Korea. Currently, Ondolbang is a unique residential technology and cultural heritage of the Korean people, which are distinct from the floor heating methods in China and Manchuria. And while the Ondol culture undergoes technological development, changes in the formality of major residential spaces, and changes in lifestyle, the original floor heating method continues.

As such, ondol culture has been inherited and continuously recreated for a long time and has a socio-cultural value that has influenced Korean society's main life and popular culture, and it is worth being a national intangible cultural asset in that it is a culture that has wisely adapted to and dealt with the harsh climate conditions facing the Korean Peninsula.

※ ※ Ondol culture has long been shared and customary among Koreans throughout the Korean Peninsula, so it does not recognize the holder or the group it owns and only designates it as an event.

Before the Buddhist Order is enshrined inside the pagoda, the Buddhist statue or Buddhist painting is enshrined in the pagoda, spspan class='xml2' onmouseover='up2 (1756)'onmouseout='dn2('dn2') wood related to Buddhism, such as sarira and five grains. Through this ritual, religious values are given to Buddha and Buddhist paintings of secular values and converted into objects of worship. <br />bbbr /> Since the Goryeo Dynasty, it has a tradition of more than 700 years and has a ritual of <span class='xml2' onmouseover='up2 (4532)'onmouseout='dn2()'dn2()'ass</span==spspsp<spspspspsp<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< "The Ancestral Sutra" was also highly regarded for its scriptures only in Korea, for its various, complex and systematic establishment of procedures and ritual elements, and for each detail, ideological and doctrinal meaning. <br /><br /><br /><br />* <span class='xml2' onmouseover='up2(4419)' onmouseout='dn2()'>작법(作法)</span>: 수륙재나 영산재 등에서 행하는 작법무(作法舞)와 같이 몸짓

It is said that the monk danced as a member of the artillery group in the mid-Joseon Dynasty, but there is a theory that the dance originated from Hwang Jin-yi's dance to seduce an ethnic missionary. Having diverse dance moves and unique dance techniques, and the composition of the dance is also systematic, high-class, and artistic form, the dance is classified as a folk dance along with salpuri, not a ritual dance performed at a temple. The Buddhist colors of Jangsam with red lyrics on its shoulders and a cone hat are the essence of Korean dance, including the powerful Jangsam nori of Buddhist monks, outstanding foot-dimbing, and the spectacular drumming is the essence of Korean dance.

Born in Daejeon in 1974, Song Jae-seop began to learn composition and plaque from Buddhist monks of the Jogye Order, and was taught Buddhist rituals and ritual services such as baryeong dance by Buddhist monk Park Song-am, the holder of the important intangible cultural asset Yeongsanjae. Later, Yi Maebang received important intangible cultural assets such as Buddhist dance and Salpuri dance, and Yeongsanjae from Yeongsanjae Preservation Society.

Song Jae-seop's dance is very feminine but not weak, has a delicate yet large texture, and has a simplicity that is never fancy. The dance moves, which show a calm and vital movement from toe to toe, are used to solve the destiny of Korean traditional sweets. The gesture is not made up by force, but is drawing joy from within with restrained emotions and unfolds a dance that is never rigid. Drawing concentric circles on a calm lake, it gives a sad feeling as if the current is spreading. His own world of dancing and humble attitude from the spirit of composition deserve to be described as the struggle of a man born to dance fatefully.

The ancient law refers to the laws of pansori's northern accompaniment. The master accompanies the singer's songs, playing various rhythms such as Jinyangjo, Jungmori, Jungjungmori, Jajinmori, Hwimori, Umori, and Ojeongmori.

In addition, they lead the sound board by stimulating the singer's excitement through chimes. Pansori emphasizes the importance of cilantro, such as" Ilgosu Lee Myung-chang" since ancient times.

Flower reception rite is a shamanistic rite performed to thank God for the virtues of the god in the springtime when flowers bloom. This exorcism includes what shamans do for themselves and what they do at the request of a house called Dangoljip.

The shaman's ritual for the spirit she served and for herself is to appreciate the peace of the family, as the rite for the re-establishment of one's health and prosperity of military work. In other words, the "Flower Greetings" is to thank the gods, and it contains ups and downs of wishing for peace, longevity, and prosperity.

Jihwajang refers to a craftsman who specializes in making paper flowers used for ceremonial purposes and religious purposes.

Most of the paintings are made of white or five-colored paper, and their types include royal paintings, Buddhist martial arts, and shamanic paintings.

Kim Eun-ok is a fourth-generation painter who has the ability to make shamanic paintings, especially in the family of master painters. She has been making flowers of sea otters, male octagonal lotus, Chilseonghwa, baby seed Dongja flower, Seori flower, Jeonbal, Bongjuk, Five Color Jangbal, Daesangbal, Hambak flower, Sanshin grandpa flower, Eight Sansunnyeo, Dosan flower, Tenjangsaeng, Songchimun Gate, Seongmun, and Seongsaeng flower, etc.

Wanchojang refers to an artisan with the skill of making objects with sedge (Cyperus exaltatus, wanggol in Korean), which is an annual/biennial plant that grows in a wet rice paddy or swamp. It grows to a height of 60 – 200cm. Sedge is used to make mats, seat cushions, and baskets.

According to Samguk sagi (History of the Three Kingdoms), sedge was used during the Silla Period (circa 57 BC – 935 AD). During the Goryeo Period (877 – 1394), a sedge mat was laid on the place where the deities of the State are enshrined. Sedge mats were used chiefly in royal palaces, and they were also sent to China as gifts. During the Joseon Period (1392 – 1910), sedge mats were used mostly in royal palaces or in the homes of upper class people. In foreign trade, the mats made in Korea were regarded as luxury goods.

Sedge products are made either manually or with tools. Mats and cushions are made either with a coarse weaving technique with warps exposed or with a close weaving technique with warps not exposed. As for the manual weaving method, eight warps are entwined to form a “井” shape and then two wefts are woven into it to make round or octagonal cushions and baskets.

Production of sedge goods once went through the doldrums, but it regained strength in the 1970s and thereafter. Up to now, sedge has been used chiefly to make mats and baskets, but it can be used to make many other objects without the need for special tools by adjusting the colors and the thickness of warps and wefts.

Seoul Saenamgut was performed for the upper classes in Seoul to console the spirits of the dead and pray for their peaceful life in heaven. It is presumed that this rite was first performed during the Joseon Period (1392 –1910) and took on a more developed form during the 17th and 18th Centuries.

The rite is composed of Andang Sagyeong Maji (spending time from 1:00 a.m. to 3:00 a.m. in the courtyard) and Saenamgut, which is performed from the following morning by five female exorcists and six dancers to the accompaniment of janggo (hourglass-shaped drum), buk (drums), daegeum (bamboo flute), piri (flute) and other instruments.

Seoul Saenamgut has features that cannot be found in the other exorcism rites. It displays elaborate composition and looks gorgeous. It includes both Buddhist and Confucian elements as well as contents relating to the royal court of the Joseon Period.

Haenyeo is a living witness representing Korea's traditional marine culture and women's fishing culture. Beyond the changing times, haenyeo have created a community culture, and in the livelihood and culture of haenyeo, various wisdom can be found about the coexistence of nature and human beings and the continued use and distribution of common lands.

The records of haenyeo have a long history, as shown in the 17th-century records related to Jeju Island, and the 'material' of haenyeo is a primitive form of language that is not found elsewhere. In addition, the folk knowledge of the ecological environment accumulated from the material experience is considerable, and it forms a unique community life culture of haenyeo, including consideration and collaboration for their fellow haenyeo, and their faith and rituals.

As such, the culture related to haenyeo was designated as a national intangible cultural asset in order to preserve and inherit the cultural heritages, as they were highly valuable in terms of historical, artistic, and uniqueness.



※ List of UNESCO intangible cultural Heritage of Humanity in 2016 (Jeju Haenyeo Culture)

※ The culture related to haenyeo is not recognized by certain holders or organizations in that it has a strong community nature through collaboration.

A traditional self-prayer is a person or skill who makes himself or herself with traditional techniques.

Since the Neolithic Age, Korea has made and used earthenware, and in the early 10th century, it adopted pottery techniques from the Tang Dynasty of China to make inlaid celadon.

Then, due to the Mongol invasions, celadon manufacturing techniques declined, and the production of buncheong ware and Joseon white porcelain became more active during the early Joseon Dynasty.

However, the kilns were destroyed during the Japanese Invasion of Korea (1592) and many potters were taken to Japan, leading to the decline of ceramic technology. Fortunately, Gwangju Gwanyo was the only one left, creating a large stem centered on Joseon white porcelain.

The production process of traditional porcelain involves the process of clay, plastic surgery, sculpture, poetry, plastic surgery, etc. The Zeto process breaks stones into powder, releases soil, mixes them, and undergoes a defensive process to remove impurities, and then builds up the clay. After the molding is over, place the crushed soil on a spinning wheel to form an object. After the molding is over, dry it and carve it with a knife.

After that, the work is completed by baking, applying glaze, and finishing grilled chaebol. The production tools include a spinning wheel, bat, earth gourd, cart, water leather, iron holtae, necklaces, and electric knives.

Traditional porcelain ware was designated as an intangible cultural asset to protect and transfer Korean beauty as a traditional craftsmanship.

Jang Song-mo of Gangwon-do, who has completed the production function of traditional ceramics, continues his career by establishing the Gangwon Ceramic Culture Research Association.

Hallyangmu is a dance drama in which a monk and a woman are seduced by dance. Hallyang refers to a nobleman who plays and eats without a certain government post.

The origin is unknown, but it was performed as a play by Sadangpae in the late Joseon Dynasty, and it was recorded in Jeong Hyeon-seok's "Gyobangga" during the reign of King Gojong (r. 1863-1907), suggesting that it was popular in the late Joseon Dynasty's. After 1910, it became popular in Kibang (Parasite).

The dance features musicians, hallyang, monks, saksi, jumo, byeolgam, sangjwa, and Madangsoe, which are composed of dance moves and clothes with different personalities depending on their roles. In the case of Hanryang, a pavilion is worn on Dopo, a pavilion is worn on the roof of the palace, and Saekshi wears a red ginseng in Mongdu-ri and a jokduri. Seung-ri wears lyrics on her acceptance and writes a small fart. The content satirizes the decadence of the Joseon Dynasty, which punishes corrupt scholars, dead men, chastity-free bride, and lazy officials.

It is no exaggeration to say that Han Liangmu is the epitome of men's dance because it is the first dramatic dance that was played in the gisaeng world among Korean mask dramas, and it retains dynamism and masculinity. It is also meaningful in that it is not a dance of the royal court, nor a pure folk dance, but a dance drama of the Gyobang class. Kim Duk-myung, the owner of the entertainment show, and six others are continuing their careers.