Bonghwa Yugi has a long history of over 500 years and is the birthplace of organic manufacturing in Korea, which introduced organic manufacturing techniques to many craftsmen across the country.

In particular, it is said that the organic manufacturing method of Anseong was also introduced from the beacon fire. Until the early 19th century, Bonghwa Yugi's reputation was widely known throughout the country, and it was also called the "Notjumgeori." This was due to the fact that charcoal needed to melt iron was easy to produce and the abundant water in Naeseongcheon Stream was a natural location.

However, in 1919, the ban on deforestation in the Taebaek Mountain area and the change of the times at the end of the Japanese Colonial Period were not won, and only two households are maintaining their old reputation.

In other regions, facilities and tools have been modernized, and the trend of losing their old appearance, but the abandonment of the beacon fire still continues the old techniques of handcrafting.

Bonghwa Yugi has a long history of over 500 years and is the birthplace of organic manufacturing in Korea, which introduced organic manufacturing techniques to many craftsmen across the country.

In particular, it is said that the organic manufacturing method of Anseong was also introduced from the beacon fire. Until the early 19th century, Bonghwa Yugi's reputation was widely known throughout the country, and it was also called the "Notjumgeori." This was due to the fact that charcoal needed to melt iron was easy to produce and the abundant water in Naeseongcheon Stream was a natural location.

However, in 1919, the ban on deforestation in the Taebaek Mountain area and the change of the times at the end of the Japanese Colonial Period were not won, and only two households are maintaining their old reputation.

In other regions, facilities and tools have been modernized, and the trend of losing their old appearance, but the abandonment of the beacon fire still continues the old techniques of handcrafting.

Piljang refers to a person or technique that makes a brush, one of

The quality of the brush is the most important, and it is said that the brush should have four virtues: chum, je, circle, and gun. This means that the brush ends must be sharp and neat, and the top of the hair is well tied with a string, and has strength even if used for a long time, so the brush hairs must rise again after making a stroke.

The materials for fur include sheep, foxes, rabbits, tigers, deer, lice, dogs, horses, pigs, and ferrets, and the brushes are often used for bamboo.

If you look at the production process, you should first straighten out the hair and then roll it up in an appropriate amount. After that, they go through the "Water End View" process, which trims the ends of their fur neatly, and then aligns with bamboo to finish.

In order to protect and transfer technology as a traditional craftsmanship, Kwon Young-jin was recognized as an intangible cultural asset holder on September 30, 1992, and Jeon Sang-gyu and Jung Hae-chang were recognized as holders on January 11, 2018.

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

A shipbuilding yard refers to a craftsman who makes Hansun, a traditional Korean ship. Modern ships refer to ships floating in rivers and seas around Japanese colonial era (1910), including ferries, ferry boats, night boats, and dangdu-ri.

The boats currently being built are mainly Hwangpo sailboat, amusement boat, engine boat, and Mesaeng (net boat and fishing boat). When making a boat, villagers usually work together, with two to three people on a large boat and one to two people on a small boat, depending on the type of boat, they are made over a week to a month. The characteristic of Joseon pear is that the bottom of the boat is wide, flat, and elastic so that it can go up and down the upper stream of the river, which is only knee deep.

Park Jeong-ok, who was designated as the sixth owner of the Seoul Intangible Cultural Property, died on October 6, 1994 and currently has no owner.

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

Hosang Nori, a traditional folk game in Seoul's Gangdong area, is also known as Ssangsangyeo Hosang Nori. Hosang Nori is a playful game if it is a portrait of a person who has a good family life and long life, and it is a game where singers and bier people gather the night before to sing a folk song all night long so that they can safely go on a rough road when they are on the rise.

The Hosang Nori in Rockjeol Village is led by a good singer in front of the bier by 36 biers, which are very large compared to ordinary bier carried by about 10 people. When the bier leaves the house, he sings the trick before carrying the bier, and as he leaves the house, he calls the incense burner to console his soul and honor his achievements and virtues. It is very exciting to see the bier moving forward as if it were pushed back. In the appearance, the coffin was lowered and the deceased built a tomb to build a dwelling where he would live for thousands of years. They sang various virtues and a song called Bangataryeong, which is a unique custom of rockjeol Village.

As Amsa-dong was incorporated into the Seoul Metropolitan Government in the 1960s, Hosang Nori in Rockjeol Village completely disappeared due to the development of Rockjeol Village and the wave of urbanization, but its original form was restored more than 30 years after it was cut off by meaningful people.

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Saengchil refers to lacquer that produces a gloss by applying sap obtained from lacquer to objects such as wooden bowls. Refine the lacquer or add something else and use it as it is without processing. The lacquer is obtained by taking the sap that flows through the lacquer bark every three days from early spring to autumn. The lacquer collected like this hardens when it comes into contact with the air, so seal it tightly and filter it with ramie or silk cloth.

Remove impurities.

Finish the painting by repeatedly applying lacquer, which has been removed from impurities, over a total of three times, and drying it. The most important thing is that dust should not stick in the process of painting lacquer. If dust is on the work, it should be dried and sanded off and painted again. After this process of painting and drying, rub it with cotton to polish it. One work is completed only after all this process. Some work takes from three months to a year.

Song Bok-nam, who was born in Seoul, began his career in lacquer at the age of 13 at the recommendation of a friend and lived as a raw lacquer plant for more than 70 years. He participated in the opening of the Chilbulsa Buddha statue in Gyeongsangnam-do in 1989 and the lacquer work of Haeinsa Buddhist altar in Hapcheon in 1994 and participated in the lacquer painting for cultural assets, including the opening of Buddhist statues and Buddhist altar in Hapcheon. He also won the 4th lacquer crafts contest (1994) and the 21st Dong-A Daejeon (1993).

Okjangbap refers to a craftsman who processes various kinds of jade and shellfish and works on royal logistics and men's and women's ornaments. As for jade stones and shellfish, Gyeongok, Yeonok, Sanho, Pumpkin, Mano, Sujeong, Gongjakseok, Yuri Jeok,

There are ivory, godmother, calligraphy, black-angle, pearl, and stonghwang.

These jade pagodas have been widely used from the royal court to the general public, including Norigae, tangerine, backrest, hairpin, earring, ring, intestine, dongje, gwanja, seonchu, needle, pungjam, danchu, and string. Royal ornaments were used for royal ornaments such as jade pedestal, jade seal, cotton crown, and pagodaejang. Traditional manufacturing processes go through quarrying → design → cutting → molding → drilling → digging → digging → carving → cutting 질 polishing 질 polishing 광 polishing → polishing → polishing.

In 1970, Kim Yeong-hui, the owner of the school, entered the school as a student of Kim Jae-hwan and practiced techniques. In 1988, he was recognized for his skills through numerous awards including the Grand Prize in the Korean Traditional Crafts Competition, the Special Prize in the Korean Traditional Crafts Competition, and the Minister of Commerce, Industry and Energy of the National Crafts Competition. He was selected as the winner of the state-designated Oksuk Pagakgapgi Crafts.

A total of more than 100 artifacts and reproduction projects have been actively carried out so far, including various exhibitions and activities at home and abroad, including the Baekok Moranmun Memorial Hall (the head of the U.N. headquarters in Korea), the Royal Palace Museum's 60th anniversary of Korea's liberation from Japan's colonial rule (the head of the National Palace Museum).

In addition, the museum opened in 2014 as a first-class museum in Heyri Art Village, Paju, to inform the public of the beauty and excellence of traditional jewelry. In addition, the government is trying to inherit and pass on the skills of the royal jade crafts of the Joseon Dynasty through the Soye region for the study of the Byeokbong Royal Cultural Heritage, and to continue the tradition of Korean royal jade crafts.

A monochromatic object without any decoration on the background gives a neat, neat feeling, but plain and boring. As the crust developed, mankind tried to express something on the background of a plain pattern and attach symbolic meaning to it. Thus, patterns were born, and humans painted or carved patterns or drawings on various materials for decorative and symbolic purposes, and added colors.

It is difficult to paint or color in metal. So, after carving dots, lines, and faces using chisels, the patterns and drawings were expressed by inserting gold and silver threads or plates into the groove. This is an incidental craft 入絲工

Call it, and the craftsman is called a job place.

The incident crafts are delicate and beautiful. Gold and silver are added to the metal base, making it colorful and elegant. It requires a subtle persistence and elegant spirit as it is a work of making grooves in metal and putting pictures in it. Three national treasures, including Chiljido (Japanese National Treasure) made by Baekje and presented it to the king of the Japanese Empire, Bronze Sealed Entrance Soldier (National Treasure No. 92), and four treasures, including Bronze Sealed Entrance Scentwan (Treasure No. 778), are currently designated as national treasures. That's why I joined the company.

They call it 'the purification of metal crafts' and hold them as representative artifacts of Korea.

Yi Gyeong-ja, the holder of the craft, is a disciple of Yi Hak-eung, who was the last employee of the Joseon Dynasty, and continues the tradition of silver Ipsaeng craftsmanship, which he learned from his teacher. From accessories to wall decorations to outdoor space decorations, the company is expanding its horizons by combining traditional and modern metal crafts, and 200 silver-entry artifacts, which have been restored and reproduced with great care, are currently on display at 12 museums across the country.

Gwangmyeong Nongak is a nongak established on the modern basis of Gwangmyeong City, focusing on Cheolsan-dong, Soha-dong, and Hakon-dong under the current geographical conditions. Rice farming, nongak, and dure are closely related to each other, and this tradition of farming is related.

As a result, it becomes the foundation of Gwangmyeong Nongak. In the past, Gwangmyeong City was part of Siheung-gun, Gyeonggi-do. This area is wide and rice paddies are developed.

Gwangmyeong Nongak has the typical characteristics of Udari Nongak, so the characteristics of the rhythm and the engraving reflect the characteristics of Nongak in the Chungcheong area of Gyeonggi Province. The starting point may have originally originated from native nongak, but the current Gwangmyeong nongak cannot be denied that there are strong traces of tae nori nongak. The unique characteristics and identity of Yeonhui Nongak should be found in the book, as it is borrowed from the contents of the book and its specific name.



It is almost impossible to verify the aspect of Durepungjang or the seasonal nongak in January. Apart from the sincerity of the original form of nongak, it has the nature of nongak, which can be re-discussed from the angle of traditional re-declaration in the future.

Since the traditional foundation of Gwangmyeong Nongak exists in the form of rice paddy farming and the deep bottom of the sound of rice paddies, the indigenous foundation of Gwangmyeong Nongak, which is the medium, also indicates the traditional origin of Gwangmyeong Nongak. The fundamental reason for Gwangmyeong Nongak is that the traditional culture was not kept in the process of the new industrial city called Gwangmyeong. As a precedent showing the problems and possibilities of the rapidly changing industrialization society, we should pay attention to the aspects and changes of Gwangmyeong Nongak at the same time.

Namsadangpae is a folk play group that originated from the working class in the late Joseon Dynasty, and it is a group of professional performers who performed with six kinds of talent: spinning plates (berna), skipping tricks (salpan), talnori (sokbogi), tightrope walking (yoreum), and puppet play (dulmi). It consists of 40 to 50 people, including four to five dungsoe, heat, beep (first-particle), low-pitch, and backers. Cheongnyongsa Temple, located in the middle of a mountain in Seowun-myeon, Anseong, became the home of Namsadangpae, and the origin of Anseong Namsadangpae can be seen as Buldanggol Sadangpae, which was sponsored by Cheongnyongsa Temple.

Anseong Namsadang Pungmul Nori consists of Yeonggi, Seonanggi, and family register, while Pungmul Jab consists of objects, buckgu and Mudong. The pungmul rhythm is based on 'Utopdari rhythm'. write powerful, delicate, slow, and fast rhythms evenly The composition of pangut consists of Insagut, Dolim Buckgu, Gopolim Buckgu, Dansan Distant, Dansan Norim Buckwheat (Yang Sangchigi), Dangsan Dolim Buckgu, Obangjin, Mudong Norim, Buckgu Norim (double-stringed white), Sadongbaeki, Gaetonggeori, Jwaupeulim, Nebaekchigi and Yisugi and Yisukim and Il.

In the early 20th century, many Namsadangpae Mogap were produced, and the pungmul of Anseong was called 'Uldari Nongak' and became the central part of Nongak in Gyeonggi Province. The Namsadangpae, which was active at the time, included Gaedaripae, Ohmyeongseonpae, Simseonokpae, Anseong Bokmanpae, Wonyukdeokpae, and Lee Wonbopae, but the actual origins of Namsadangpae are the genealogy of Baudeok, Kim Bokman, Wonyukdeok, Lee Wonbo and Kim Ki-bok.

In 1982, the Anseong Namsadang Preservation Society was established under the leadership of Kim Ki-bok, who took the Sangsoe class at the Yiwon Bopae. In 1989, he won the Presidential Award at the National Folk Arts Competition. Kim Ki-bok was designated as a holder of entertainment in 1997, but died in 2015. Since then, Sung Kwang-woo, the chairman of the conservation committee and assistant instructor for training, has been striving to perform performances and pass down the event.

Kim Moo-chul was taught the dance by his father, Kim Jo-kyun.

The name of the dance was called "Nammu" due to the nature of the Jeolla region, where traditional dances were held at that time, and the dance performed by Namsadangpae and Mudong etc. as a entertainment at the end of the Joseon Dynasty was performed at Kibang when Namsadangpae were scattered. It is a dance in which Hong-an, which is covered with a fan, is covered with a combination of images of Han-ryang and Heung-heung, and adds to the style, and gives a glimpse of Han-ryang's knowledge and personality, especially the unique charm of foot stepping-stone adds to the taste of the dance.

Entering the 33rd Korea Victory Crafts Competition in 2008

Entering the 14th Jeonju Traditional Crafts National Competition in 2009

2010 Special Selection for the 35th Korea Victory Crafts Competition

The musical instruments used in the Jeolla Samhyeon Yukgak are composed of daegeum, piri, haegeum, janggu, and drum, and are accompanied by a danso. Daegeum uses three modern gold, and the flute uses a spice. Samhyeon Yukgak was performed at various events, including the ancestral rites of Hyanggyo, the sixtieth birthday and marriage of Saga, the ancestral rites at the temple, or the dancing of the sangnyang, or the shooting of a bow.

There are only Nongsamhyeon and Minsamhyeon in the country in the Samhyeon Yukgak Pavilion in Jeolla-do. Nongsamhyeon was refined to perform as an accompaniment for dance, while Min Samhyeon was originally used by private households.

The songs used in the Jeolla Samhyeon Yukgak include Bonyeongsan Mountain, Jungyeongsan Mountain, Janyeongsan Mountain, Hudu, Kokduri, Dolgop, Samhyeon, Yeombul, Samhyeon Doljang, Taryeong, Gutgeori, Haengrak, Gunak, and Dangak. Jeolla Samhyeon Yukgak is characterized by a proper change in the order of music performed according to the content of the event.

Nongsamhyeon in Jeollanam-do learned 48 songs and compositions of Daepungryu, but now only Bonyeongsan, Yeombul, Gutgeori, Late Taryeong, Jazun Taryeong, and Victory Songs are left. Samhyeon Yukgak, which was born because not only ritual music, but also royal music such as Haengak, temple music, and sedentary music were not distributed to local government agencies, has been a major contributor to the promotion of Korean traditional music.

Geumsan Nongak is a nongak that retains the original form of mountain basin-type folk culture developed between Sobaeksan Mountain Range and Goryeong Mountain Range, and it preserves the original form of left-hand Nongak.

Geumsan Nongak is a very professional nongak that has been developed beyond the village nongak stage and developed into a packaged nongak through the geolip nongak stage. Geumsan Nongak has been awarded several times since its liberation as a representative of various competitions held across the country, and pangut of the Geumsan Nongak Band Choi Sang-geun, who toured around the country, has developed and is being passed down with roots in Geumsan Nongak today.

Geumsan Nongak shows various development processes in Geumsan's base culture such as Village Gut, Songgye Daebang Nori, Dure Pungjang, Cheonnae Baegeollipgut, and consists of Yeonggi, Napal, Taepyeongso, Daepo, Changbu, Cooking, Yangban, Nonggun, Gaksi, Halmi, Geolnong, Flower Butterfly, Jeong, Jing, Beopgo, Beopgo, Beopgo. In particular, Geumsan Nongak is developed to the highest level among left-hand Nongak.

The genealogy of Geumsan Nongak is handed down to Kim Soo-dong, Choi Sang-geun, Ju Gi-hwan, Kim Byeong-hwa, and Park Hee-jung as Jeon In-geun.



Geumsan Nongak has different forms and procedures depending on the purpose, timing, and location of the performance. If you divide the types, you will find "Maegut" on Seotdal Geumeum, "Madangbapi" on the New Year's Eve or the New Year's Eve, "Dangsanje" on the fifteenth of lunar January, "Geolipgut" from early 3rd to Daeboreum, and "Boreum," "Geum," "Geum," "Geum" before planting, and "Geum" and "Geum" and "Geum" and "Geumgi"



Geumsan Nongak Village Gut's performance procedures are passed down to Deuldangsan, Naldangsan, Samgut Topje (Dangsan Gut), Mungut, Madang Gut, Sungju Gut, Jeongji Gut, Cheolyong Gut (Janggwang Gut), Siam Gut (Samgut), and Geoggan Gut (Gwanggut), and each process is divided independently. The front gut consists of instrumental and dance elements, and the back gut consists of vocal, performance, and playful elements. In particular, the rhythms that show the local characteristics of Geumsan include Oemachijilgut, various twelve machi, Nejinmachi, Jajinmachi, Yeongi, Dancegut, Pungnyeongut, and Bapsakgut, which are produced, sweet and easy to break, and slow to play, and the forms that are formed very quickly are of high quality music, Samjingut, Gosarikeokgoggi, mokgoggi, Moleonggut, Gosugi, Gosugi, Gosugi, Gosugi, Gosa.



Geumsan Nongak's Chibaegwae is composed of jockey, apron, and duchibae.

1) Number of flags

1 descriptor (numeric), 1 container (memorization), 1 agricultural instrument, 2 young flag, 5 obanggi

2) An apron belly

Nabal, three saenab, six kkwaenggwari, four gongs, eight janggu, six drums, 12 sogo.

3) Duchibae

Daepo Water - 1, Yangban - 1; Gulnong - 1; Cooking - 1; Gaksi - 1; Halmi – 1; Mudong (1 flower butterfly, 1 middle butterfly, 2 changbu, 4 basketball)



The colors of Geumsan Nongak are divided into gisu, apron, and dukchi. The gisu is the same as the gisu, which is the same as the gisu, and the gisu is the same as the gisaeng and the gisu.

In the case of an apron, the kkwaenggwari wears purple daggers, gongs, janggu, drums are purple vests, and sogo is navy vests. In the case of the dutch, the clothes are all distinguished differently, divided into mixed colors and motionless clothes. In Geumsan, a skilled person in the neighborhood made flowers and painted five colors in a beautiful way by decorating the flowers by making samemi (a cedar tree woven like a hat), and older adults still call it samemui and dolmu.

Main growth refers to a craftsman with casting technology who melts iron into a mold to make the desired items. During the Joseon Dynasty, the main growth was centered on light factories where weapons and metal types were made at military bases and main bases. When the factory plan was abolished after the reign of King Yeongjo and King Jeongjo, a private owner of the company emerged from the 17th century. They were responsible for the demand for Buddhist bells, vaults, incense burners, shrines, and runners, and from the 19th century, they gradually declined. Later, during the Korean Empire, the main growth was almost cut off, but rather, Japanese colonial era gradually revived due to increased demand for castings due to the production of military supplies.

Park Han-jong, the main growth function holder, entered the main growth business at the age of 16 and has a long career of about 50 years. The main growth of the Busan area is said to have originated from Kim Seok-gon, the main growth engine of Busan, who founded Beomjongsa Temple in Japanese colonial era. Kim Seok-gon's master craft led to Kim Kwae-jae, who was active in the early 20th century, and Kim Seok-jeong, who ran Cheongjongsa Temple, and Park Han-jong received the master craft from the two men. Since 1987, he has inherited his master, Kim Seok-jeong's Jujong Workshop and renamed it Hongjongsa.

In the meantime, 200 households with less than 1,000 pipes and 10 households with more than 2,000 pipes were selected. Some of the more than 2,000 representative works include Daebeomjong (1991), Daebeomjong (1996), Busan Citizens' Bell (1999), Gimcheon Citizens' Daejong (1999), Shin Eo Beomjong (2001), and Bongnyeongsa (2002) in Suwon.

Park Han-jong's method of casting the bronze bell is based on the traditional Korean technique of casting death penalty, in which half of the life-long sections are modeled and the molds of the inner and outer shapes are constructed and cast separately using a huge rotating shaft. Moreover, the precision casting technique of the Sangwonsa Temple, which was not clear about manufacturing techniques, was reproduced in the traditional way of casting death, allowing it to inherit the mystique of the Korean species, which is highly praised for its excellent sound and pattern beauty.