Jisung Craft is also known as Nojikkae, which is made by twisting paper into a container. Although the exact date of the outbreak is unknown, it is estimated that there were many paper bowls during the Joseon Dynasty, which had been handed down since then.

Cut Korean paper and soak it in water to make it. Fold the twisted paper string in half and weave it one by one. A pattern or shape can be freely changed and a pattern is applied to a paper bowl with a form. Finally, it is finished by polishing with cashew, a kind of paint. They make baskets, trays, suspenders, shoes (meturi) with paper straps.

Jiseungjo was designated as an intangible cultural asset in order to transfer and protect technology as a traditional craftsmanship. It has been cut off for some time by Choi Young-joon, a functional holder living in Hongseong-gun, Chungcheongnam-do.

The Korean traditional music is composed of sijo poems (Korean traditional poetry) and sung to orchestral accompaniment. It is also known as 'Sakdaeyeop' or 'Song'.

The original version of the song is Mandaeyeop, Jung Daeyeop, and Sakdaeyeop, but the slow song, Mandaeyeop, disappeared before the reign of King Yeongjo (r. 1724-1776), and Jungdaeyeop (r. 1724-1776), and Jungdaeyeop (r. 1724-1676), which was not sung at the end of the Joseon Dynasty.

The current song is derived from the "Sakdaeyeop," a fast song that appeared since the late Joseon Dynasty, and various rhythmical related songs have formed a five-piece collection of songs.

Currently, 41 songs are handed down, including the Ujo and the Gyemyeonjo, 26 male and 15 female songs, but the female versions of the male and female songs are slightly modified so that women can sing the male and female songs, which are almost identical to the male chant. However, there is a difference between the melody that shows the delicacy of the female singer and the low-pitched voice.

According to the format, a poem is divided into five chapters, and the prelude, a rental note, and a second, three, three, four, and five chapters are repeated. The highly organized and well-organized performance consists of geomungo, gayageum, haegeum, daegeum, danso, and janggu.

Songs have been in existence for many years without change, and are of high artistic value that have been handed down by experts compared to other music being popular.

Soban is a small table of dishes that is used for various purposes from Korean diet to ritual ceremonies. The art of making soban or its craftsman is called sobanjang.

Various types of tomb murals such as the Gakjeochong Tomb and the Dance Tomb of Goguryeo were found in various types of tomb murals. Records such as "Samguk Sagi," "Byeolsa" and "Gyeongguk Daejeon" indicate that the state-affiliated organizations were divided into two groups to produce the paintings. During the Joseon Dynasty, Buddhist statues were mainly used rather than statues due to the influence of Confucian ideology, and small and large statues were needed for various purposes such as rituals and weddings, which naturally led to the development of small and medium-sized soban production.

The type of soban is classified into about 60 types depending on the area, type, and use of the soban. Haeju-ban, Naju-ban, Tongyeong-ban, Chungju-ban, and Gangwon-do. Haeju-ban is a sculpture-oriented soban, Naju-ban is a medium-sized soban, and Tongyeong-based soban is a rhyme-oriented one. In addition, in terms of bridge shape, Jukjeol-type (bamboo-shaped), Hojok-type (tiger-shaped), and Gujok-type (dog-shaped) in Gangwon-do and Gyeonggi-do are the main features.

Some of the Ganghwa Durejil songs were influenced by agricultural songs from the Yellow Sea (Yeonbaek region) compared to inland areas.

The sound of durejil continues to be a solo song if the fish is narrow, and if it is wide, two or more yongdurees are installed to sing back and forth. In addition, the sound of planting rice is also sung in the case of narrow rice paddies, while singing in the wide rice paddies while humming in solo.

The musical instrument, commonly known as the instrument used to play music, has been used in traditional music since the Three Kingdoms Period, and about 60 types of musical instruments have been introduced, including unique instruments from Korea, and foreign instruments imported from China, the West, and other regions. As Korea was adjacent to the northern continent, Chinese and Western music was already introduced during the Three Kingdoms Period. Especially after Silla unified the three kingdoms, Tang Dynasty music was imported.

By the Goryeo Dynasty, Song Dynasty folk music and aak were imported, and by the time of King Yejong's reign, Ahak was introduced, and it still came in large quantities. These instruments were classified according to the main ingredients needed to make musical instruments in "Jeungbo Munheongo," and in particular, the musical instruments used for the unique traditional music, as well as the instruments used for Ahak and Dangak.

By the Japanese invasion, national sovereignty was lost and court musicians became free men. Of course, unlike the heads of government-affiliated musical instruments who made Jeongak-centered instruments, Sanjo-centered instruments were being produced in the private sector. This sanjo instrument can be said to be for individual performance, making it more cheerful and easier to transport than a group-oriented Jeongak instrument. During the Japanese Colonial Period, Kim Myeong-chil was named in Jeonju, and Kim Boong-gi (Kim Hak-gi) was named in Jeongeup.

After Korea's liberation from Japan's colonial rule, Kim Myeong-chil's technique was followed by his son Kim Gwang-ju, who became the No. 42 instrument master in 1971. He moved to Seoul to teach Choi Tae-gwi, Go Heung-gon, and Lee Young-soo before passing away in April 1984. Originally, Yi Yeongsu was designated as a cultural asset of Jeollabuk-do with the functions of Kim Bungi in Jeongeup, but he also received the functions of Kim Gwang-ju.

The musical instrument director originally thought he would make all instruments, but now he is divided into a drum, a jango, a gong, a gong, a jing, a salted fish, a flute, a gayageum, a geomungo, and a haegeum.

The late Kim Gye-soon, the holder, has contributed much to the development of our embroidery today as a first-generation and old-timer of the modern embroidery industry in Korea.

He has been a self-made man for the past 50 to 60 years and has focused more on nurturing younger students and studying embroidery than on his own.

In particular, as it was prevalent in the royal court and was practiced in the women's diadem, there were not many literature materials, so it contributed a lot to the development of embroidery by analyzing and researching old works and devoting them to the design and reproduction of works.

Born in Boseong, South Jeolla Province in 1954, Kim Ok-su came to Seoul at the young age of 13 and has been on the same path for 40 years after learning stone techniques from Jeong Sun-bung and Go Geum-dong.

He won prizes at the National Skills Competition, and specialized in Buddhist sculptures to repair stone structures at major Buddhist temples across the country.

Sandae nori refers to the mask dance of the central region. Songpa Sandae Nori is a popular play that combines dance, mime, words of virtue and humor as a branch of Sandae-do Gamgeuk enjoyed in Seoul and Gyeonggi Province. This play was performed every year on the fifteenth day of the first lunar month and on Dano, Baekjung, and Chuseok.

Songpa Village was the commercial base of Gyeonggi Province, and it was said that about 200 years ago, when Songpa Market was the most prosperous, Sandae Nori became popular and was completed in the form of a play that still conveys to this day. Songpa Sandae Nori consists of seven chapters, and prior to the play, it is equipped with masks and costumes, played on the road to the venue of the performance while playing music, arranged masks and performed ancestral rites.

The composition of the play, exaggeration, dance, and mask are almost similar to Yangju Byeolsandae Nori, but several masks, dances, and roles are characterized by their old forms. In other words, in Yangju Byeolsandae Nori, the cremation dance moves that have already disappeared, and the masks of the mother of childbirth, Shin Hal-mi, and the shaman remain, so there are separate roles for these masks. Thirty-three masks made of a bowl, pine bark, and paper are used, and the play style, like other mask dances, is mainly dance, accompanied by jokes and movements.

"Woljeongsa Top Doll" was handed down through Japanese colonial era and 6.25, and Monk Manhwa, who was appointed as the host in 1969, restored and systematized the traditional top Dori.

Since then, the "Woljeongsa pagoda" has been in service every year since its demonstration at the Odaesan Buddhist Culture Festival in 2004 after going through a period of stagnation in the 1980s and 1990s. Since 2013, the tower has been held every month on the fifteenth and the first day of the month.


In addition to Woljeongsa Temple, Tapdol is performed by Beopjusa Palsangjeon Tower Stone, Chungju Central Tower Stone, Tongdosa Pagoda, and Manboksa Pagoda, but it is the only one designated as an intangible cultural asset.

Tapdoli is a ritual that has a long history that was mentioned in the history of the Three Kingdoms.


Source: Hyundai Buddhist Newspaper (http://www.hyunbulnews.com)

The owner of Ko Yun-hak is a master craftsman who has learned and mastered traditional Buddhist woodwork at the site, and has a foundation and a foundation for practicing Buddhist wood carving techniques, including the restoration of traditional Buddhist and bodhisattva statues and the production of maimed tools in traditional ways, as well as a foundation for mastering and practicing Buddhist wood carving techniques.

■ Origin of the King's reign

Jeongjeonggok, a song written by Jeong-seo, who was raised to Busan Dongnae during the reign of King Uijong of Goryeo, was settled as a song during the Joseon Dynasty, and Sijo was derived from this song.

Songs and sijo use sijoshi as a yellow word. The sijo is designed to simplify the melody and rhythm of the song so that anyone can sing it easily, so just the daegeum and janggu accompaniment is enough to play it. Furthermore, it is simple and simple, and it is a song enjoyed by scholars and nobles, not professional singers.

The sijo word is a song that reduces and simplifies the song so that you can express your composure and style to the fullest.

To indicate this, a fully qualified sijo is the Anglo-Sijo.

Since 1900, Kim Il-soo has continued to produce traditional Korean paper for three generations since his grandfather.

A chambit is a hairbrush with thin and dense combs. Depending on the size, there are large, small, medium, small and medium-sized enterprises, Jinyangso, Hwagakso, Mingapso, Milso, and Seoulchi.

The history of combs in Korea is so long that they were excavated from the Nakrang Ancient Tombs in the 1st century B.C. and during the Joseon Dynasty, bamboo wares were placed to make chambits.

Chambits are used to tidy up hair with a hairbrush and then to remove impurities from hair sometimes. Usually, combs are made of bamboo, but some are made of godmothers, and others are also made of coarse and dense.

Most of the shapes of the chambits are rectangular. Since ancient times, chambits have been made in Yeongam, Damyang, Naju and Namwon, but only in Yeongam and Damyang. Among them, the Chambit of Yeongam is famous throughout the country for its high quality and long-lasting use.

In Yeongam, South Jeolla Province, Yi Bang-woo and Ko Haeng-ju of Damyang have been recognized as having the function of the comb in order to continue the tradition of making it.

The song refers to a musical style in which Sijo poem, one of the literary genres of the Joseon Dynasty, is added to the melody of five chapters.

It is called Jeongga along with the lyric and sijo, and is also considered one of Korea's top three vocal music songs along with Beompae and Pansori.

In the late Joseon Dynasty, it was a representative piece of music for the folk and folk, and it was also their living music.

Playing to the accompaniment of the gale, the tune is divided into clear, vigorous U-jo and sad-feeling surfactants, and divided into male and female chants.

"Kimchi-making" is a daily and repetitive culture in which the entire Korean people participate as a community beyond regional, social, and economic differences. Kimchi is an indispensable food for Koreans regardless of the region, and it has become one of Korea's representative foods in recognition of its excellence internationally.

It is an important component of Korean culture for a considerable period of time that contains the spirit of cooperation and sharing, and through this culture, individuals have become united in their relationships with the people, relatives, villages, neighbors, and new communities and have formed their identity.

"Kimjang," the core of kimchi-making, contains traditional knowledge that nature and humans can live together, and the spirit of sharing, solidarity and harmony that emphasizes to maintain the good of society continues to modern society.

In the past, if intergenerational transmission was carried out mainly in women's communities such as mothers and daughters-in-law based on accumulated experience and knowledge, Hyundai is becoming an active entity where science is integrated and men participate in kimchi, and schools, private organizations, and local governments are also actively participating in various forms of kimchi culture.

In addition, the various fermented bacteria in kimchi show biological diversity and local diversity, giving a glimpse of cultural diversity derived from natural environment.

Making kimchi did not recognize certain holders or organizations in that it was a lifestyle and culture handed down throughout the country rather than requiring high-level special skills.