"Traditional fishing is a traditional fishing culture in fishing villages, which refers to fishing gear or fishing methods that catch fish that flock to the coast during the ebb tide by hitting bamboo feet or stacking stones.

"Eo-sal" has a very long history, as it can be found in the records of the Goryeo period such as "The History of the Three Kingdoms" and "The History of Goryeo." After the 16th and 17th centuries, due to the natural conditions of coastal areas and the growing demand for seafood due to the development of commerce in the late Joseon Dynasty, the transformation of 'arrow fish' was made, resulting in the emergence of Jubuk on the west coast, Bangryum on the south coast, and Jangsal on the west coast. As such, 'arrow fish' has been an important part of the various traditional fishing methods that have been handed down in Korea.

As shown in the "fish fishing" in Kim Hong-do (Treasure No. 527) of Kim Hong-do (1745-1806 or later), "Eo Sal" represented coastal fishing until the Joseon Dynasty. However, with the development of fishing industry in the coastal waters after the 1970s, the traditional fishing methods, including 'arrow', began to decline relatively. One of the most common examples of Assal, which has been handed down so far, is anchovy fishing using bamboo sticks installed in the Jijok Strait in Namhae-gun and Mado and Jeodo Island in Sacheon-si.

"Traditional fishing methods - fish flesh" are designated as national cultural properties in various aspects, including an understanding of nature and ecological environment, a combination of fish habits, the experienced knowledge of fishermen catching fish by looking at season and water, an important role in studying fishing culture, fishermen's fishing history, people's life history, and the fact that "fish flesh" continues to evolve into various forms of "net flesh."

However, the 'traditional fishing method – fish slaughter' was designated as the Korean fishermen's empirical knowledge system and was a lifestyle and culture widely inherited in fishing villages rather than limited to certain areas.

Ungsang Agricultural Cooperative Federation Jangwon Nori, which leads to the stage of Myeonggok-ri, Ungsang-eup, is a three-dimensional play in which the villagers select the best farming house as a funeral home, share the liquor and food produced by the farmers, and relieve the stress of the year's farming work for several days and enjoy a good harvest according to the order and movements of the situation. This play illustrates the process of working together and the farming practices of the time.

Ungsang Nongcheong Jangwon Nori was reenacted by senior citizens in their 60s and 80s, who were about to disappear by industrialization. The succession genealogy is clear, with senior citizens participating in the game and faithfully playing the reality, such as simple play, organized, and sound reaching the original level. In addition, it is fortunate that Nongcheong, a rural community of traditional society, existed in Myeonggok Village until the 1980s, even though the Woongsang area was urbanized.

Ungsang Nongcheong Jangwon Nori won the Grand Prize and Encouragement Prize respectively at the 30th Gyeongsangnam-do Folk Arts Competition in June 1999 and the 40th Korean Folk Arts Festival in September of the same year.

Records of Buddhist lantern festivals can be found in materials dating back to the 9th century, i.e., during the Unified Silla Period. The custom of holding lotus lantern festivals continued throughout the Goryeo and Joseon eras.

The lotus lantern festivals of Silla and Goryeo were primarily a Buddhist event; during the Joseon Dynasty, however, the festival became more of a folk event. During the Japanese Colonial Period, a parade of lanterns was included in the festivities. The lantern festivals feature a Buddhist memorial service in the form of a lantern parade, for which a great variety of lanterns are produced. After the introduction of Buddhism to Korea, lantern festivals became important cultural events for both royalty and commoners over the period spanning Unified Silla and Goryeo to Joseon.

Throughout Korea’s history, Goryeo lotus lantern festivals had an important social function; even during the Joseon Dynasty when Confucianism was the dominant religion, lotus lantern festivals were important cultural events for the common people, a tradition that has been maintained to the present day. It is currently under preparation.

Dancheong is a painting of decorative patterns as a mineral pigment to prevent the beauty and corrosion of the interior and exterior walls of Buddhist temples or palace buildings. In particular, Dancheong, which is decorated with Buddhist architecture, embodies a solemn world of fire based on the understanding of doctrines, which is an important purpose to arouse religious belief among believers. As a result, many buildings were decorated with dancheong (dancheong) and many dancheong (dancheong) halls were also decorated with dancheong (dancheong) as the beginning of Buddhism.

The amphibious landing materials that have been passed down in the Incheon area include 49jae, Baekiljae, Gisegi, Damjae, amphibious landing, Jesujae, Baekjongjae, Oewangjae, Sanshinjae, Yongwangjae, Jowangjae, Sinjungjae, and Jeseokjae, all of which are called Cheondojae.

The difference between the Incheon landing ceremony and other regions is the sound section. While the sounds of other regions use five tones, the Incheon amphibious landing makes six sounds with the sound of Kanseong.

Unlike other regions, there is also an earnest syllable that honors the joys and sorrows of common people and fishermen engaged in fishing. This is due to the influence of the song sung by fishermen when they are sad or excited while fishing in the sea, which is reflected in the amphibious landing materials in Incheon, showing different characteristics from other regions.

Throughout the three generations, it has been recognized for its history and tradition by maintaining and inheriting the traditional hanji production technology for 36 years, realizing the excellence of hanji, and making efforts to develop new hanji that is suitable for the times based on the traditional hanji production technology.

Main Production Items: Okchunji, Color Okchunji and Natural Dyeing Paper

Productionable Items: Okchunji, Colored Okchunji, and Torture Restoration Site

The name "Homigeoli" comes from the fact that it was "washed and walked" for next year after wearing the last laver. It means that the farming season ends by hanging ho-mi on the back of the farming season. It is said that by the time the dried laver, which can measure farming, was made, the durepae gathered and performed ho-mi-gul only when it was judged that the farming was successful. Homigul was held around Baekjung in the 7th lunar month and was a kind of festival where farmers took a rest and played with the hope of a good harvest. These festivals can be found throughout the country, and were also called homissisi, kernels, caves, and servants' play, depending on the region.

Once the Homigirl was decided, villagers prepared for the feast by checking instruments and flags for play and preparing food. Before dawn on the day, men gathered together to play Gilgunak (Marching Pungmul) with flags at the forefront and hold Sangsanje in front of the party, and then women and women held a Daedongje. Sangsanje holds a wish for good farming in the year, while Daedongje holds a wish for the villagers to be healthy. After the Daedongje Festival, pungmul begins, and the neighboring village Durepae gather in the Dangmadang with carts containing alcohol. They play pungmul while receiving chi and sweeping chi, when the ho-mi-gall sounds are sung. Farming songs sung during the Gimmaegi process, such as Gansori, Saduyeo, Yangsan-do, Bangataryeong, Jajinbangataryeong, Nolnori, Jajinnori, Sangsaemya, Flapping, and Rotating, are sung. At dusk, neighboring Durepae go back and do housewarming and finish Homigirls.

The Goyang Songpo Homigirl is based on the Dure community, which was handed down to Bamgae Village in Daehwa-ri, Songpo-myeon, Goyang. After 1931, the victory was cut off, but it was restored again by singer Kim Hyun-kyu in the 1970s. In November 1984, the Songpo Homie Girl Preservation Society was formed, and now the Homie Girl is being reproduced by Jo Gyeong-hui, the president of conservation and assistant director of the school. At the fourth Gyeonggi-do Folk Arts Competition in 1985, he won the overall prize and the 12th prize in 1999.

Dure is an indispensable form of joint work in an agricultural society. Only a person's hand had work your land, rice, rice, rice reaping most local people had to work with me at a time in the process. Although labor

united for, but itself was a village play, a festival.

Gimpo Tongjin Durenori is an event that focuses on the sound of farming in the old farmers' dure process that was handed down in the Tongjin area. Depending on the farming season, the song starts with a long melody and ends with a quick melody. The sound of gosa ddeokdam, mochi and gimaegi are called in Tongjin Durenori.

When Sangsoe's kkwaenggwari sounds, villagers begin to enter with a bucket bearing the name of the village that used to form Tongjin-myeon. After entering the flag, sowing rice seeds → paddy grilling → killing → rice planting → rice planting → eating fish → eating fish → laver fighting → cutting rice → chopping → building up islands.

In Gosa-gi, people share gosa-tteok in hopes of a good harvest, and in Mochi-gi, they sing mochi-gi songs to cheer them up. Sae-cham-muk-gi shows a combination of work and play, such as enjoying Sae-cham and enjoying entertainment. After a fish fight between rice paddies, it is expanded to a dure fight between villages. The team that catches the pheasant fence on the village flag first wins, and the winning team puts the pheasant fence back on the losing team's flag, leading to harmony.

Although the Duleges in the Tongjin area were cut off after the 1960s due to changes in farming environment, Yun Deok-hyeon won the Presidential Award at the 1997 National Folk Arts Competition for recreating the old tradition. Since then, the Tongjin Durenori Preservation Society was established to succeed the Gimpo Tongjin Durenori, and the Tongjin Dure Cultural Center was established in April 2008. After Yoon Deok-hyeon's death, Jo Moon-yeon was designated as the holder in November 2016. It is actively engaged in activities through an open event for intangible cultural assets in Gyeonggi Province, a presentation of the National Duret Sori Conference, a demonstration of inviting intangible cultural assets from each province, and a presentation of its own Gimpo Tongjin Durenori.

The Tang painting was a reverent and beautiful portrayal of Buddhist materials and doctrines. It achieved the highest technical completion in the Goryeo Dynasty, which was renowned around the world. During the Joseon Dynasty, it became a popular art.

The Jeolla region has long been known for its as well as monk Yoo Sam-young, a skilled craftsman, has been producing many works in Jeolla-do and Jeju-do for more than 30 years since taking the tanghwa class from Mon Eung. His tangs are subject matter-specific in each category. In particular, the traditional two-line colors and colors are used to maintain the traditional culture faithfully.

Sitting Gut is one of the Korean shamanic rites in which Gyeonggwae sits down and reads Mukyeong and gongs. It is called "Sitting Gut" or "Chungcheongdo Gut" or "Yangban Gut" because it is popular in Chungcheong-do and is especially popular among yangban.

This seated rite originated from Maengseung of the Goryeo Dynasty, and was formed when Myeongtongsi Prehistory, a Buddhist monk of the Joseon Dynasty, was abolished and served as Dokgyeongsa Temple in the private sector as a means of living. However, at the end of the Joseon Dynasty, a seated ritual was established today as a guest of honor, not a policeman.

Sitting Gut in Chungcheong-do is the hometown of Cheongju. So, in the past, a guest of honor from Cheongju was called to the nearest South Chungcheong Province as well as to Seoul for a sitting ritual. However, after the Korean War, the local seongut shamans who came to Cheongju were reading the book, and the contents were greatly reduced and transformed.

Shin Myeong-ho learned sitting ritual from Kim Jong-heon, a student of Yun Chi-seok, who lived in Mochung-dong, Cheongju, and lived in Jangsa-ri, Gadeok-myeon, Cheongwon-gun. However, due to Kim Jong-heon's poor landscape, he went to Hwagwansa Temple in Baekjoksan Mountain, Cheongwon-gun, where he learned Chinese literature and Buddhist scriptures at Mt. Lee Myeong-san, and also learned Seolwisulgyeong and Mukyeong from various senior police officers who were active in Cheongju.

Shin Myeong-ho was born in 1943 (born 1949 in resident registration) in Hwangcheong-ri, Namil-myeon, Cheongwon-gun, as the only son of Shin Man-sik and Ahn Ui-jun, and served as the head of the Chungcheongbuk-do branch of the Korean Gyeongsin Association for 10 years while living as a shaman.

As an important activity, he was responsible for 19 years for the performance of the Mokgye Sinje Bummu, Sodumoni Yongshin Gut, and Cheongju Cheonjon Gut, and won the Gut of the Paldo Gut Contest, hosted by the Korean Gyeongsin Association. In addition, the study of Chungbuk dance was found to be one of the representative shamans of Chungbuk.Muak has been introduced to the academic world.

Shin Myeong-ho is an adviser to the members and their disciples, usually performing ritual and military rites, and advises and instructs them on the great exorcism of the members and disciples, and reads the great scenery that they cannot read.

Shin Myeong-ho is characterized by the fact that he does not repeat the same scriptures and relatively flexible rhythms in the large gut, as well as the Great Views including Okchugyeong, the An Taek-gyeong to pray for blessings, the congratulatory scriptures to ward off disasters, and various congratulatory texts.

Mungyeong Mojeon Deul means labor, ritual, and entertainment that have been passed down in Mojeon-dong, Mungyeong. Starting with the sound of scrotum, the sound of woodpecking, and the sound of planting mother's seedlings are composed of 10 different fields. It is preserved by the Mojeon Deul Sori Preservation Society, which was founded in 2010.

The Mojeon Deul Sori Preservation Society was founded by 'Mojeon Jungsingi Nongak Band', which has been played since 1900 when poor farmers gathered in the area, but has been officially formed in the 1940s and continues to this day. Japanese colonial era's Nongak Band was passed down through the three great somersaults called Yangsubong and is currently being passed down to four out of five singers.

In terms of music, melody consists mostly of the Manari Tori in Gyeongsang-do, but it has unique regional characteristics as it has unique sounds in Mungyeong, which are different from those of neighboring Sangju and Yecheon areas and different from those of Gangwon-do. In addition, the unique thinking of the local people of Mungyeong, who sublimate the bier into a daily routine of work and play beyond life and death, can also be called the unique locality of the sound.

Songdang-ri Village Festival is a village-level rite held to pray for the peace of the village by offering sacrifices to Bekjutto Manurassin, the origin of many villages on Jeju Island. It is held every year on January 13, February 13, July 13, and October 13.

Born in Songaksan Mountain in Namsan, Seoul, Bekjutto Manurassin was a goddess of mountain meat and farming who came to Jeju Island with five grain seeds, married Sorosocheonguk, a male god of hunting and livestock, and gave birth to eight sons and 28 daughters, whose offspring spread evenly to 368 villages throughout Jeju Island.

The village festival begins with the opening of a gate to pray for the villagers to open a newspaper so that they can hold a memorial service. The rite is held at the site and time of the rite, at the beginning of the ceremony to announce the reason for the rite and the names of those who participated in the rite, at the opening of the new palace gate, and at the beginning of the ceremony to remove bad energy from the path where the gods come down, and at the request of the invitation to invite the Jade Emperor and the Beggjutto Manura god. It is performed in the order of Poongni Nori, who dances and sings to entertain the gods, and Dojin, who tries to predict the fortune of the village, blocks the bad luck of the village, and sends back the gods who have been invited.

Songdang-ri is a sacred place to become the "root of your faith." Songdang-ri Village Festival is a representative of the village festivals held in Jeju Island.

The Nabil-eup-ri Village Festival is a village-level rite held to pray for peace in the village by offering sacrifices to the measles god, the village guardian, and the guest god Poshin. The ritual was held in spring and autumn every year and has been held only in spring since more than 30 years ago.

The rite begins with a total abolition of the offering to the sacrificial table. The rite is held in the order of the iron ferns, incense vessels, and memorial tablets, and the Confucian ritual method. After the ritual, the priests and participants catch the pig they used as a sacrifice and share it with them.

The Nabil-eup-ri Village Festival is characterized by the combination of Poje, a Confucian village ritual performed by men, and Danggut, a shamanistic village ritual performed by women.

Bulmi Craft is a craft technique that produces pots and plough blades with cast iron. Jeju Island has long been self-sufficient in most of its daily necessities and farm equipment due to its inconvenience in trade with the mainland, and Deoksu-ri's French craftsmen are the representative example.

In the form of casting crafts in Jeju Island, there is a hand-pulmu that melts or heats iron with the power of hands, and a thimble that creates wind by digging a goal on the ground, putting a hoop in the middle, and placing a board on top of it, standing three people on one side, as if they were jumping on a board. The hand-pulled radish is divided into two types: tickle and tobull. In Tick-tack-tok-tok-tok-tok-tok-tok-tok-tok-tok-tok- In Tobulmi, molten iron from the bank (Yonggwang-ro) is poured into a pre-made casting frame to make pots, rice cakes, plough blades, etc. Golpulmu is called Golpulmu (or stepping-bubumi or tread-bubumi), and its size and products are the same as Tobulmi, but the way they generate wind is different.

It is highly likely that Jeju's casting crafts led from the simplest structure, Tick-tock-bull-mi, to the Tubul-mi, and to the unsolicitedness of melting the iron by blowing the wind with the force of the feet. Since 1945, Jeju's casting crafts have been declining due to the use of iron pots and cultivators instead of plows.

Song Young-hwa, who is currently a holder of French craftsmanship, continues her tradition of French craftsmanship by holding a reenactment event in Deoksu-ri every October.

Jeongdongbeolip is a type of hat worn by farmers and is unique to Jeju Island. It had been used to avoid rain or prevent sunlight in the shape of a blue tiger.

The production of Jeongdong Beolip is concentrated in Seongro-dong, Gwedeok 1-ri, Hallym-eup, Bukjeju-gun. It is not known exactly when Jeongdong Beolip was first made, and why it was inherited only from Gwedeok 1-ri.

Jeongdongbeolip is largely divided into Jeolben, mang, and cloth. Other than this, there are Gaolbyeon Rock, which starts at the beginning, between Jeolben and Mang, and Sagabbawi Rock between Mang and Cheon. Jeongdongbeolip is made of Jeongdong (Doggy Cave) that grows in the mountains of Jeju Island. The work process is largely divided into three courses: the first is the process of making jeolben in the rock of the crow, the second is the process of making nets in Jeolben, and the third is the process of making cloth from the net. In this way, it takes four to five days to open a single Jeongdong polyp. The types are not distinctly distinguished, such as yangtai or tanggun, but are divided into upper, middle, and lower vaginas depending on the difference in the number of dorsal trees.

Jeongdong Ballip has been designated and preserved as an intangible cultural asset, and Hong Dal-pyo continues to hold the function.