If you mix raw chestnuts, rice, and yeast on the edge of the pine tree and make it clear, it becomes Songjeolju. If you distill it again, it becomes Songroju.

Shin Hyung-chul, a former function holder of Song Ro-ju, was born as the eldest daughter of Shin Hyun-tae and Lee Soon-sim of Pyeongsan Shin clan in Hansan-myeon, Seocheon-gun, South Chungcheong Province. The two volumes of "Goryeoseo," which include Song Ro-ju's brewing methods, are said to have been handed down to her mother, Lee Soon-sim, and her mother, Lee Soon-sim, was also said to have been handed down from her mother's family. One of the two volumes of "The Book of Corridors" was named "Food Act," which was built in 1880 by Jeong Geum, the wife of Lee Han-soo, the maternal grandfather of Shin Hyung-chul, and the other is a Korean-language manuscript believed to have been written around the 16th century.

There has been a popular belief that drinking truffle liquor can lead to a long life, and the Dong-dong Bogam Food Act states that it is good for joints and neuralgia.

Fresh liquor produced in Miwon area, which has long been known for its good water quality, has been handed down to the family of Hamyang Park for about 400 years.

It is said that after Park Sung-sang, a former provincial governor of Chungcheong Province, moved back to the village, the secret recipe for making the liquor was introduced. The name "Shinsangju" originated from the Silla Dynasty when Choe Chiwon built a pavilion at Sinseonbong Peak in front of the village and enjoyed drinking it.

When making fresh liquor, the medicinal herbs that are good for the body are fermented with glutinous rice and yeast to make rice wine or distilled liquor, which is good for constipation removal, effective for gray hair, and has a unique scent. Also, it is very good to drink because you can easily wake up and clear your head after drinking.

Cheoyongmu is the only dance performed at the Royal Court with a human face mask. The performance is based on folklore about Cheoyong, who is said, during the reign of King Heongang (r. 875 – 886) of Unified Silla, to have driven away an epidemic-spreading deity about to touch his sleeping wife by singing a song composed by him and dancing.

Cheoyongmu is danced by five performers wearing clothes of five different colors, blue indicating the east, white the west, red the south, black the north, and yellow the center. The dance is based on the theory of five elements and yin yang, and is intended to drive away evil spirits. The dance movements are gaudy, imposing and lively, and go well with the expressions of the facials masks worn by the performers.

Until the late Goryeo Period, the dance was performed by one person but the number of performers had increased to five by the reign of King Sejong (r. 1418 - 1450) of Joseon. By the reign of King Seongjong (r. 1469 – 1494), the dance came to be performed as part of a rite held at the Royal Palace. It continued to develop until the late Joseon Period through changes in the lyric, melody, and dance movements.

Following a temporary hiatus in performance upon Japan’s annexation of Korea in 1910, the Yiwangjik Aakbu (Royal Music Institute of the Yi Household) had it performed again in the late 1920s.

Cheoyongmu is a high-level art performance, combining music and dance movements with costumes and facial masks, which depicts the virtuous and humorous minds of the people of olden days.

Hak Yeonhwadae Hapseol mu refers to a comprehensive dance of the Crane Dance(Hak mu) and the Lotus Flower Dance(Yeonhwadae mu). These dances were performed following the rite of driving away evil spirits from the Royal Court during the early Joseon Period.

The Crane Dance was performed to bless and praise the King in a rite held at the Royal Court from the Goryeo Period. It is the only dance in the country in which the performer is disguised as a bird.

The Lotus Flower Dance is based on a story about two girls born as pistils of a lotus flower repaying the King’s virtuosity with a dance and asong. Two performers disguised as cranes start the performance with a dance. A little later, they peck the two lotus flower buds. Two girls appear from the lotus flowers and the cranes run away, frightened.

The Crane Dance is accompanied by music like seryeongsan, samhyeon dodeuri, and taryeong, and the Lotus Flower Dance by a piece of Royal Court music. These dances portray communication between animals and humans. They display high artistic quality and traditional values both in content and style.

Gasa, which is part of the country’s traditional vocal music, refers to a long narrative in verse. Based on relevant records, it is presumed that this form of verse started to be written after the reign of King Yeongjo (r. 1724-1776).

A total of 12 pieces have been handed down and survive today. They are Baekgusa(The Song of the Seagull), Jukjisa(The Song of the Bamboo Branch, Hwanggyesa(The Song of the Yellow Cock), Eobusa(The Song of the Fisherman), Chunmyeongok(Spring Indolence), Sangsa Byeolgok(Longing for the Departed One), Gilgunak(The Street Military Music), Gwonjuga(The Drinking Song), Suyangsanga(The Song of Mt. Suyang), Cheosaga(The Song of the Hermit), Yangyangga(The Song of Yangyang Town), and Maehwa Taryeong(The Song of the Plum Blossom).

It is not known who composed these songs or wrote their lyrics, but it is thought that the tradition of Gasa was established toward the end of the Korean Empire (1897 – 1910). The narratives of Gasa are very long and are not regularly styled, and so it is not clear how singers are supposed to arrange their diverse features and sounds. Melodies differ slightly from narrative to narrative. Modulations and repetitions appear characteristically.

As for their rhythm, Baekgusa and Jukjisa have dodeuri rhythm (sextuple time). Sangsa Byeolgok, Cheosaga, and Yangyangga have quintuple time. Gwonjuga has no fixed rhythm.

Basically, Gasa is sung without instrumental accompaniment, but sometimes it is sung to the accompaniment of piri (flute), haegeum (two-stringed fiddle), daegeum (bamboo flute) or janggo (hourglass-shaped drums).

As a free-style song, Gasa is good at expressing people’s sentiment or natural beauty. It is a song sung by professionals, and is the country’s indigenous music featuring peacefulness and locality.

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.

Making gongs is made by beating brass in a group of Daejeong, Gajidaejeong, front-machin, Jeonmachikun, Senmachikun and Pulmuone on a night of the agricultural cold from November of the lunar calendar to February of the following year. The production process is brass-greening, elongating, embossing, potting, cheapening, flirting, snuffing, puffing, eggplanting, and crying, especially in the end, crying-gathering, which coordinates the sound of the gong, requires highly skilled skills.

In the area of Anui-myeon, Seosang-myeon, and Seohae-myeon, Hamyang-gun, the old Anui-hyeon area, there was a time when the production technology was the best in the country due to the fact that it was an organic percussion workshop. Until the 1960s, the function of the inner area gong was inherited, but there were one in Ggotburi Village in Seosang-myeon and one in Songgye Village in Seohae-myeon, and Lee Yong-gu, the holder of the function, is a member of the Ggotburi family.

Currently, Jingjiang Yi Yong-gu is making gongs with modernized manufacturing techniques, while setting up traditional gongs next to them and producing gongs by order, continuing the traditional inner gongs. The traditional inner gong is characterized by its loud, grand sound and long wavelength.

It is recorded that there was a pottery shop called 'Osa Yori' in the Sangju Woodblock of King Sejong Silokji during the Joseon Dynasty. Jeong Hak-bong's Ong Enterprise is now in its fourth generation, a family business that began during his high years. From the time of Gojobu to the time of his grandfather, he worked at the Onggi Factory in Sangju and Boeun, and settled in his current position when he was a famous Ong Enterprise.

Various earthenware made using traditional methods of production will come out of the world through Yeonsilyo, a traditional six-room jangja exposed to the ground. The production works are centered on the names of living containers that can be easily used in everyday life, such as the complex, various pots, kunju, jabaegi, various semi-phase machines, and ttukbaegi. Onggi's production methods, processes, types of products, and formability are meaningful in that they not only faithfully inherit the basics of traditional onggi production, but also continue the traditional onggi production in the Sangju area.

Pansori refers to a single singer weaving a long story by mixing a spear (sound), horse (aniri), and gesture (nareum) to the rhythm of a master.

Park Nok-ju Body Pansori Heungbo of Chung Soon-im, the holder of the obvious entertainment record, is joined by Song Man-gap - Kim Jung-moon - Park Nok-ju - Park Song-hee (Park Jung-ja) - Jeong Soon-im, and was born as the eldest daughter of (Go) Jang Soon-ae (Jangwoljungseon), the 19th intangible cultural asset, and inherited her artistic talent from her mother.

Around the age of 10, Shimcheongga, Chunhyangga, etc. were already learned, and Heungbo, Sugungga, and Yeonsa continued to learn. Jung Soon-im is known as a master singer of pansori in name and reality by winning the Presidential Prize for the Pansori Department of the Namdo Arts Festival in 1985 and the KBS Korean Music Awards in 1997.

Pansori, a combination of a singer (a singer, a clown), a master, and an audience. When the singer sings a spear, the master beats the drum and adds chimes. The audience also gets excited by singing together. The singer does not adjust to the rhythm, but talks (or does not) as usual, and sometimes uses a fan to act according to the rhythm or editorial content. The outstanding broadness grips the audience.

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The ritual for mountain gods is held at the mountain god. The ritual for mountain gods in Yuchun-dong is one of the rites held every year in the lunar winter solstice to prevent the villagers from feeling bad and pray for peace and prosperity.

The history of Yuchun-dong Sansinje is not accurate, but some residents say it has been around for about 450 years. At that time, the Sanjedang stood in a place where the good energy of Bomunsan Mountain was given, and it is said that today the Sanjedang was built and the Sanjindang was started. The ritual for mountain gods was held every year in Dongjidal, but from more than 20 years ago, it was designated as Dongjidal's first three days. In the past, the ritual was postponed for about a week in the run-up to the ritual for mountain gods, but as the number of villagers increased rapidly, they are not concerned about the portrait or childbirth.

Sanjedang Shrine, which holds a ritual for mountain gods, is a two-pyeong, one-room building, with a mountain shrine hanging inside, and a pine tree standing in front of the shrine house. A white-haired old man and a large tiger are depicted on the mountain shrine, adding to the mystery with deep mountains and clouds in the background.

Yuchun-dong Sanshinje established the Sanjedang Preservation Society and inherited and preserved it.

Ko Soo-hwan was born in Jeongeup, North Jeolla Province in 1950 and learned how to make musical instruments from Nam Gap-jin and Lee Young-soo. He has devoted himself to making stringed instruments for more than 30 years, and has a function of the entire process of making musical instruments, such as twisting strings in wood cutting.

His musical instruments are said to have a clear tone and remain unchanged even after a few years. He won several prizes at the Jeonbuk Crafts Competition, and won the gold prize at the Spanish Tread Club 'World Musical Instruments Show' in 1991.

Dancheong refers to the use of five colors, blue, red, yellow, white, and black, to paint beautifully by drawing patterns and paintings on buildings or artifacts. A person with this technique of dancheong and its skill is called dancheongjang, and if a person engaged in dancheong is a monk, he or she was called Geumi or Hwaseung.

Dancheong in Korea can be found through various ancient tomb murals dating back to the Three Kingdoms Period. Especially, the murals of Goguryeo tombs show the architectural style of the time and the appearance of dancheong, indicating the origin of dancheong. Dancheong was also found in vessels such as chaehwa and lacquer excavated from ancient tombs, but it was mainly used for wooden buildings. Dancheong also includes painting and painting of Buddha statues on the walls of buildings.

In the course of Dancheongjang's class, he practices drawing from the beginning of the year to the beginning of the year, and in the case of armor, he learns Cheonwangcho. If you are good at it, you will become a dancheong master by painting the upper tangerines that draw fire and bodhisattva. There are many types of dancheong, such as dancheong, which is simply drawn with black and white lines, morodancheong, which draws a draft of hair, and gilt dancheong, which is painted in five colors.

Dancheong is an area of Buddhist art that has been continued in our history by expressing Buddhist doctrines and ideologies. Dancheong, an expression of the sentiments and life of the Korean people as well as its role as a religious art, is a traditional craftsmanship, and Cho Jung-woo has been recognized as a function holder, continuing its existence.

Beompae, one of Korea's three major vocal music pieces along with pansori and song, is a ritual music sung by the Buddhist music of Cheondoism that sends the dead to heaven.

The broad meaning of the dance includes dance in addition to sound, which is called composition. The composition is a unique Buddhist dance that can only be seen in Jae (a Buddhist dance to pray for peace) and can be divided into three types: Butterfly Dance, Bara Dance, and Beopgo Dance. Butterfly Dance is called Assan Dance in North Jeolla Province.

The Yeongsan writing system is different from the writing system in Seoul because it has cultural and artistic characteristics in North Jeolla Province, while the Seoul area is mainly engaged in the painting industry, while the North Jeolla region is mainly engaged in the painting industry.

Even in the optimism of the cone, flowers are painted in Seoul, but carp are painted in North Jeolla Province, which seems to have added shamanistic elements.

In particular, the Yeongsan composition method is characterized by a variety of dance moves of Assan dance and Bara dance, and the Beopgo dance has little movement, showing a conservative aspect.

Bulhwajang refers to the art of Buddhist painting or an artist who is skilled in such art. Buddhist paintings are considered objects of worship along with pagodas and Buddhist statues. Based on their forms, Buddhist paintings can be categorized as taenghwa (hanging paintings), gyeonghwa (sutra paintings), and byeokhwa (mural paintings).

In particular, taenghwa are hung behind the Buddhist altar after holding a number of religious ceremonies. These hanging paintings, found at traditional temples, are the major form of Buddhist painting in Korea; the monks in charge of producing the paintings go by several names such as geumeo, hwaseung, hwasa, or hwawon.

The art of Buddhist painting was formerly handed down by the holders of Dancheongjang (Ornamental Painting). Considering the differences in technique and function, however, it has now been separated from the ornamental painting to form its own category. Therefore, Buddhist painting and ornamental painting are being taught and handed down as two separate categories.

The colorful ornamental paintwork at Buddhist temples and palace buildings is clearly different from Buddhist painting in purpose and expression. While it is used to decorate the walls and structural members of wooden buildings with geometric patterns and drawings, Buddhist painting refers mainly to the production of paintings, expressing Buddhist doctrine in an easy-to-understand manner.

Aegi Seedanggut in Haengdang-dong has a long tradition as a representative village rite in Seoul, with a history of at least 257 years. Although it is a village rite, it is in the form of a village rite, which is completely different from the generally known farming and fishing village culture.

The villagers are actively and actively participating in the project, and are seeking unity through Danggut. In addition, the district office and the cultural center are actively cooperating to promote Danggut as an organic cooperation system between the public and private sectors.

On January 10, 2005, it was designated as an intangible cultural asset of Seoul. Dangju medium owners, gimongnyeom been recognition of activities in 2017, on March 17, 2008 on Nov. 16, became holder of the hon. , holder in the field of musician choeyeonggeun been recognition of activity in the March 17, 2008.

※For more information on the above cultural assets, please contact the Seoul Metropolitan Government Department of Historical and Cultural Heritage (☎02-2133-2616).

Bonghwasan Dodanggut is a village ritual in Seoul that has been promoting Daedong-sik for 400 years for the well-being and solidarity of the residents. It is a village rite held on the 3rd day of the 3rd lunar month at the Dodang of Bonghwasan Mountain located at 141 Sinnae-dong, Jungnang-gu, Seoul.

Bonghwasan Dodanggut was first joined by Junghwasan Dodanggut, which was recently held annually by the Bonghwasan Dodangje Preservation Committee of the Jungnang Cultural Center, while Sinnae-dong divided the villages and Sinnae-dong organized Dodanggut the following year.

On January 10, 2005, it was designated as an intangible cultural asset of Seoul. Dangju medium owners, sinwiaeng been recognition of activities in 2017, on March 17, 2008 on Nov. 16, became holder of the hon. Holder in the field of musicians, been recognition of activity on March 17, 2008 is headed by Prof. Kim Kwang-soo at.

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