[Park Gye-ho]
- Beginning in 1986 and making Hapjukseon after generation
- Entering the 29th National Crafts Competition in 1999
- 2014 U.S. President's State Visit Gift Production and Demonstration of Palace Museum Production
- Entry to the 42nd Korean War Victory Crafts Competition in 2017

"Seonjajang" refers to a craftsman who has the skill and function of making traditional fans. Our country's fans can be divided into large round shaped fans and folding and folding folding fans. Among them, Hapjukseon, the folding fan, was the most sophisticated and sophisticated fan handed down to date, and was a representative artifact of the country from the Goryeo Dynasty that was combined with najeon, metal, lacquer, and jade crafts.

Hapjuk is made by attaching the outer and outer edges of bamboo. It is known to have been first produced in Damyang, South Jeolla Province, the main producer of bamboo during the Goryeo Dynasty. During the Joseon Dynasty, Hapjukseon was mainly produced by artisans of government offices called Seonjacheng in Jeonju, where Jeolla Gamyeong was located, and was also used for diplomacy and foreign trade.

Introducing the holder of Kim Han-il

- Introduction to 1960.
- Blacksmith's operation since 1974.
- Entering the 24th Victory Crafts Competition in 1999
- Selection of functional winners in 2009 (Ministry of Labor)

A fieldmaster is a craftsman who makes or repairs tools and tools by heating and tapping metal, and is called a blacksmith. A blacksmith is an important profession that has produced weapons and agricultural equipment since a long time ago, and appears early in history.

In the past, many markets and markets were successful, but they are gradually disappearing due to changes in the times and the supply of mass-produced products.

Currently, the blacksmith's barn is located in Yongmeori Pass, and it produces farming tools, traditional knives, and household items.

■ Icheon Turtle Play

Among our folk culture, there is a game that is distributed only in Gyeonggi-do and Chungcheong-do, so "turtle play" is that. This turtle play takes off the water fountain on Chuseok to form a turtle, and a person enters the village and performs Gilnori, Umulgut, Village Nori, Mungut, Terjugut, Jowanggut, Daecheonggut, and Madangnori in order.

It's a folk game.

Compared to other folk games, it is characterized by the fact that it is usually held during Chuseok, the number of materials used to make turtles, and the fact that it is distributed only in the central inland area. It is also a Daedongnori that promotes the harmony of the village in that the villagers attend the event, from the preparation process of the play to the actual play, as well as the ritualistic nature of the village to beat out the evil spirits of the entire village and families.

Icheon Turtle Nori is relatively well equipped with the play process and the form of objects compared to other turtle Nori in other regions, and the Icheon Turtle Nori Preservation Society provides a good survey, research, and preservation of turtle Nori. In particular, the 14th Icheon Turtle Play Festival, which was held in 2017, is dedicated to preserving the original form of the Icheon Turtle Play and protecting local folk games through the development of various contents. (Icheon Turtle Play Preservation Society http://cafe.daum.net/gg50)

■ Detailed description of Icheon Turtle Play

○ Gilnori

In a meaningful process to announce the start of the game and boost the excitement of the players, they pay their respects to the turtle before moving to the village.

○ Wellgut

Wellgut, called Samgut, is a ritual to manage springs used jointly in the village, and is a game to pray for the overflow of clear water.

○ Village play

In the vacant lot in the middle of the village, a living community space for the villagers, a playground is opened to drive out all the evils and pray for the safety and prosperity of the village.

○ Mungut

A gate is a passageway that connects the house and the outside. Mungut is a ritual to pray that all the blessings and goods enter the house through the gate.

○ Turjugut

Behind the house, there is Jangdokdae in Ulan, and most people have a terrace next to Jangdokdae, which is believed to have a sense of grandeur here. Turjugut is a ritual to prevent evil spirits from appearing and to pray for ophthalmology and peace.

○ Jowanggut

This game is played to prevent bad luck and to pray for the health of the family by serving the god of King Jowang with a ritual performed in the kitchen that oversees the diet.

○ Daecheonggut

It has long been believed that the house is protected by a large grotto called 'up' on the daecheong beam. "Up" is the most conscious play in the play process because it was believed to be a divine being that protects the house, gives the house a hallway and brings bad luck.

○ Madang nori

Madang Nori is the most exciting part of the play where people run and play freely, mingling with the joy of enjoying Hangawi in abundance after a year of farming and the relief that they wished good luck and prevented bad luck through turtle play.

Gat, also known as black ribs, was one of the official hats used by aristocrats during the Joseon Dynasty to reflect their status.

Ipnip was originally a practical tool for covering the sun, rain, and wind, but as the materials, forms, and production methods diversified, black ribs were made during the Joseon Dynasty through the initial phase of the Parangi.

The shape of a gat is composed of Daewoo (hat) and Yangtae (hat's rim), and the height and width of the gat were very popular in the times. The types of gat include mami-lip, low-morip, bamboo sarip, forrip, bamboo-lip, yin-yangrip, state and white lip.

The process of making a gat is largely divided into particle work, in which the yangtae, the gun hat, the yangtae and the gun hat are collected and matched. Yangtae is a round top of a gat that divides bamboo into thin pieces like hair and weaves them together on a round plate.

Yang Tae-jang, a master craftsman who made Yangtae during the early Joseon Dynasty, was made by two members of the Gyeongguk Daejeon Chamber of Commerce and Industry, and during the late Joseon Dynasty, he was not bound by the government office, but rather pursued private production in areas where horse guns and bamboo were produced.

The production process for the patterning is in order of bamboo screening and grooming, the duck process, the weaving of the pattern, and the arrangement of the pattern. Bamboo is a bamboo (sondae) produced in the southern part of the country, and it is stored by selecting the ones that are tough, light, and long and high in quality between joints, boiling the ashes are boiled and dried. The duck process is a process of making bamboo shoots as thin as silk. Depending on the purpose, it is placed in a brocade to adjust the scales to make a blade, shell, and pedestal.

After weaving the wings and the joe together, Yangtae puts the head (meaning 'Jeju dialect'), diagonally between the two, and puts the comb in a diagonal line, then finely trims it to complete the yangtae.

Yang Tae-jang Jang Jeong-soon learned from his childhood about the process of making Yangtae and Tanggun, techniques, and the selection and management of bamboo among the new days, which his mother Song Ok-su (Jeju Special Self-Governing Province Intangible Cultural Property No. 12) had been working as a family business. Afterward, he moved to Bangbae-dong, Seocho-gu, Seoul in 1986 and produced it by himself, but moved to Gwacheon in 1995 to continue his work.

Due to its excellent skills, high-quality work such as high-distribution and buttocks are produced with high-quality techniques.

Chwita refers to the simultaneous playing of wind and percussion instruments. Daechwita refers to a large-scale performance of chwita and seak (traditional ensemble music played with instruments with small sound volume suited to an indoor event) to announce the presence of the King or for a parade of troops.

Chwita appear in murals dating from Goguryeo (circa 37 BC – 668 AD) and in records about Baekje (18 BC – 660 AD), which tells us that it was performed during the Three Kingdoms Period.
Chwigakgun (a military band), which originated in the Goryeo Period (877 – 1394), continued into the Joseon Period (1392 – 1910). Seak came to be included in the military band repertoire in the mid-Joseon Period.

The military band playing chwita and seak wore a yellow uniform with a blue band hung across the chest, and a straw hat. They played jing (large gong), janggo (hourglass-shaped drum), buk (drums), nabal (trumpets), sora (conch horns), and taepyeongso (conical wooden oboe). At the command of the leader, jing and buk start up and they are followed by the other players. Their playing gives a feeling of being brave, resonant, and magnificent.

After the forced disbanding of the Korean troops by Japanese imperialists toward the end of the Korean Empire (1897 – 1910), “Piri Jeongak and Daechwita” has never been played formally. Some semblance of this style of music has barely been maintained by private businesses for advertisement, or by temples for rituals, but now it is almost extinct.

Daechwita is a precious cultural heritage as the music that displays the unyielding spirit of the people of olden days.


Change in the name: Daechwita → Piri Jeongak and Daechwita (in June 1998)

Woodenware refers to a vessel made of wood, and a person with the art of making wood tools is called woodcraft. Woodenware is a specialty of Namwon, boasting a distinctive scent and exquisite and beautiful shape. The wood is hard and the lacquer is not peeled off, which is considered as highly regarded since the early Joseon Dynasty as compared to other local woodcrafts.

Ingredients for wood tools include duckwood, water-root, birch and ginkgo. The woodworking process is to cut down the wood and structure it in the form of rough construction. This is called Chogari, and it is then dried in the shade for about 40 days to prevent any gaps. The shape of the bowl is formed from the ash tree. These days, they use power to make straws and ashes. When the ashore is finished, paint it five to seven times and dry it again for about 10 days.

Woodenware produced these days is mainly chemically painted, while traditional woodware is lacquer. The lacquer woodwork is a natural paint without any workmanship, and its color is more vivid after two to three years, and its waterproof and sterilizing effects are great, so it does not grow small even after a long time, and it is a traditional craft that does not decay even if buried underwater or underground. Wooden utensils are mostly jegi, and they mainly produce wooden crafts such as vases and jars, and rice bowls used in temples.

Wooden craftsmanship is a traditional craftsmanship, with the recognition of Kim Gwang-ryeol and Noh Dong-sik as functional holders.

A pencil case refers to a person who makes a brush, which is one of the literary sources, and its technique. The brush consists of brush feathers, brushes, and caps. The brush's fur includes sheep, deer, rabbits, weasels, tigers, and roe deer, and bamboo. The brushes used bamboo, but also used decorative brushes with gold and silver pieces, jade, and ivory.

The process of making a brush begins with the brush hair, which is the core of the brush. The basic conditions for brush hair are stiff, pointed, hairy, and neat, the top part of the hair is tied well with a string, and the hair is strong even if it is used for a long time.

Lee In-hoon has been making brushwork for three generations from his grandfather. When Yi In-hoon first learned his skills, he began to cut bamboo, shed fur, and feed grass. Among the brushes he made, Hwang Mo-bush made of weasel tail feathers and Jang-bush-bush made of female deer armpit hairs are particularly excellent, and in addition, blue, wool, and bamboo pencils are produced.

His technique of making fur is special and sparse, so he has excellent historical and academic value in the transmission and research of local fur making techniques.

On the fifteenth day of the first full moon of the lunar year, the twill, which begins every year by dividing the lower village into the north, is a seasonal custom and a folk game of this region. A few days before the fifteenth of lunar January, children gather straws to make their own houses and steal them from other places.

On the fifteenth of lunar January, the ritual for village guardian deity is held in Dangsan. This is to pray for the prevention of maritime accidents and the prosperity of the village by praying for a good harvest and a good harvest for a year in the semi-agricultural semi-fishing village. The trailblazes in Japanese colonial era are also completely gone.

However, the move to restore the trailblazers began shortly after liberation. The folk play, which was stopped by the efforts of Kim Chan-jung, a local cultural researcher living in this village, has been reproduced and is now inherited by the Preservation Society of Pioneer Grasshoppers, and is also presented to tourists during the cherry blossom festival.

The trailblazing is carried out in the order of Dangsanje, Eobulim, Pilseung Gochuk, Gossaum, Slicing, and Daljip burning. The rope used for the pioneer claw is made by hanging a four-strand rope that looks like an octopus' feet on one go. It's a number to fight hard before you scratch it and win according to the result. They fight with all their might to become a male team because they have a high chance of winning the game. When the arm and the male are determined, the two goes are connected with a latch to start the twisting. At this time, the women brought a pebble on the beach to beat the strings on their sides, and grabbed the stone wrapped in the skirt with the rope and then brushed it.

It is believed that if Amgo wins in the slips, it will become a good harvest and a good fish. When the twine is finished, they pledge harmony by burning the moon house regardless of the outcome.

He won the grand prize at the 25th Gyeongnam Provincial Folk Art Competition (1993.10.13), and in 1994, he also appeared as a representative of Gyeongsangnam-do at the National Folklore Competition.

Jinju Ogwangdae was passed down to Jinju's seasonal customs, but declined in the 1920s due to the Japanese national culture eradication policy. It was stopped in 1937 and was restored as a mask play in Jinju, Gyeongsangnam-do in 1998. The play was held on the evening of the fifteenth day of the first lunar month, with dance as the main theme, along with jokes, gestures, and songs. The gong, drum, janggu, jing, haegeum, piri, and salted fish are mainly played in the gutgeori rhythm, and based on the deotbogee dance, the jindung dance, the mundung dance, and the heavy dance are performed according to the character's characteristics.

The composition of the play is composed of five yards. The first is the Obangsinjangmu Madang, which is a courtyard where the Obangsinjanggans, including the Eastern Cheongje General, the Western General, the Southern General, the Northern General Heukje, and the Central Emperor, beat down all the evil spirits and evil spirits on the ground.

The second is the Mundung Madang, which is a courtyard that protects the peace and well-being of the people, such as the Eastern Cheong Tal, the Western Baek Tal, the Southern Deity, the Northern Black Mask, and the Central Hwang Tal.

The third is a yard where a servant who is well-informed as a nobleman reveals the moral corruption of the nobleman and shows that the social system of discriminating against people as a status is wrong through the process of making fun of the ignorant owner Saengwon and his friends Ongsaengwon and Cha Saengwon.

The fourth is the Jungmadang, where Somu dances hand-dancing to the Taryeong rhythm, and the dance that seduces Somu comes out with the upper seat. It is a satirical game that shows how a true life is by comparing the life of a monk with the life of a secular person, as well as the life of a monk, who is captivated by the fun of the world after coming down to the world and dancing with the nobleman.

Fifth, there is a storm between the old lady who abandoned her family and the old lady who brought her two parasites as a widow. It is a yard that shows how a woman's life and family are due to her irresponsible husband.

The masks used in Jinju Ogwangdae include Obang Xinjiang, Mundung, Eodingi, Ongsaengwon, Cha Saengwon, Maltuki, Halmi, Jung, Sangjwa, Somu, and Palseonyeo.

Jeontongjang refers to the skill of making a quiver (a long case for carrying arrows), or to an artisan with such a skill.

On the Korean Peninsula, the skill started to develop as early as the Neolithic Age. Quivers appear in murals in Ssangyeongchong Tomb dating from Goguryeo (circa 37 BC – 667 AD). Quiver ornaments were unearthed from tombs dating from Silla (circa 57 BC – 935 AD) and Baekje (18 BC – 935 AD). The development of firearms after the Japanese Invasion of Korea (1592 – 1598) led to the decline of arrows and consequently, quivers.

By the late Joseon Period (1392 – 1910), archery became a hobby and this affected the types of quivers used. Quivers were made of bamboo, paper, wood, or shark skin. Some of them were adorned with mother-of-pearl or engraved patterns. Bamboo quivers were made of transparent green-colored bamboo at least two years old. Bamboo pieces cut were stored in a shady place for more than two years and then put in watery caustic soda for three days to remove oily substance. The work was completed with the removal of nodes and the engraving of patterns.

Tug-of-war was held on the fifteenth day of the first lunar month as part of a farming ritual called jul-ssam.

Giul is also called Gejul because it is like a crab's foot, and Gijulnori is also called Haesaekjeon in Chinese. As for the origin of the tug-of-war, there is no accurate record of the fact that it began when many reservoirs were built in Samcheok during the reign of King Hyeonjong of the Joseon Dynasty (1659-1674).

On the first day of the first lunar month, Samcheokgi tug-of-war is called Sokdakjul because it is small in size and scale, with children divided into two sides and beating drums and kkwaenggwari.

As the scale gradually grows, it will spread to the mid-term tug-of-war, which will be led by teenagers around July 8 and will be divided into coastal and mountainous areas for adults around July 15 to begin a full-fledged tug-of-war.

There is a belief that there will be a good harvest on the winning side, but competition is fierce every year because they have to work in the true side of Suri and Embankment repair.

Samcheokgi tug-of-war is a village festival that contains folk beliefs to prevent disasters and pray for a good harvest, and it is meaningful as a community festival to promote unity and cooperation among residents.

The pansori of Gangsanje, which was created by Park Yu-jeon, one of the eight singers of the late Joseon Dynasty, has been called in Mokpo, Boseong, South Jeolla Province, and Namwon, North Jeolla Province, and Gangsanje has many characteristics of dongpyeonje as it was created by choosing between dongpyeonje and Seopyeonje pansori.

Yoo Yeong-hae has a genealogical characteristic that leads from Park Yu-jeon to Jeong Jae-geun, and from Jeong Eung-min to Jeong Je-jin and Jo Sang-hyeon. Especially, there are many commandments, and the tone of the sound is smooth, making the listeners feel comfortable. He has held more than 10 full-length presentations, is an important intangible cultural asset recipient, and is a recognized master singer who won the Namwon Chunhyangje Presidential Award.

Cheonwangmaegi refers to the Jisinpuri, which residents of the Bisan-dong area used to do at the beginning of January every year to the kings of Gicheon, Jungcheon and Malcheon, who have been supported as gods for a long time ago. Jisinpuri is a religious village event that repels evil spirits and evil spirits by suppressing Jisin (a god in charge of the land) in the first lunar month, praying for peace in the village, good harvests, and family blessings. The folk instruments such as kkwaenggwari, Jing, drum, janggu, Soenap, and other poems wearing masks, sang Jisinpuri and sang songs from house to house.

It is said that the heavenly trees, shrines, and mountains were located in the place where each heavenly king was located, and that the shrine contained images of the heavenly king. The process of the event will be followed by Daenaerim, the selection of a priest, Jilgut in front of the shrine, Mungut in front of the Sadangmun Gate, reading a congratulatory message, Cheonwangmaegi, and Pangut. Usually, Jisinbapgi is performed from door to door, and Cheonwangmaegi in Bisan-dong is characterized by a village ritual that ends with exciting music and dancing in the front yard of the shrine.

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

It is known that the original version of the song was not sung in the late Joseon Dynasty, when the song "Mandaeyeop," "Mandaeyeop," or "Mandaeyeop," was lost before the reign of King Yeongjo (1724-1776). The current song originated from the fast-paced song "Sakdaeyeop," which appeared in the late Joseon Dynasty, and is composed of a collection of songs that are related to the melody.

The song is divided into five chapters, with a prelude, a rental note, and a second, third, middle, fourth, and fifth chapters. Very organized and well-organized. If you look at the rhythm, there are 16 beats of slow speed and 10 beats of fast speed of "pyeonjangdan." The performance consists of Geomungo, Gayageum, Haegeum, Daegeum, Danso, and Janggu.

The song is one of the three major vocal music pieces in Korea, and is of high artistic value handed down by experts compared to the popular pansori and Beompae (a song that praises Buddha's virtues). Kwon, who lives in Daegu, is believed to be the only person in the Yeongnam region who can sing the song to the end.

Sanjo refers to the playing of an instrument solo to the accompaniment of janggo (hourglass-shaped drum), moving from slow to fast rhythm in four to six movements. Geomungo Sanjo is Korean instrumental folk music played solo with geomungo (six-stringed zither).

Geomungo, which is also called hyeongeum (literally “black zither”), is said to have been made by Wang San-ak during the Goguryeo Period (circa 37 BC - 668 AD). It has six silk strings made of twisted silk thread tied to a wooden body 1.5m long and 25cm wide. A player sitting on the floor plays it while it is placed on his/her lap the way one plays a guitar, with the left hand tuning melody with string support called “gwae” and the right hand striking strings with thin bamboo (“suldae”).

Geomungo Sanjo was first played by Baek Nak-jun in 1896 (33rd year of Emperor Gojong’s reign), but some people said that it was music that degraded the gracefulness of geomungo. Thus, it was only years later that a particular type of geomungo playing was accepted by majority of the people. At first, it was composed of monotonous melodies or rhythms; gradually, however, exquisite and complicated rhythms were added.

Geomungo Sanjo has five rhythms: jinyangjo (slow), jungmori (moderate), jungjungmori (moderately fast), eonmori (irregular), and jajinmori (fast). Overall, its melodies are made up of ujo (calm and steadfast feeling), which appears in the first and middle parts of each movement, and gyemyeonjo (sad, soft, and plaintive feeling), which appears mostly at the end of each movement.

Geomungo Sanjo is a piece of music containing a sense of subdued masculinity, featuring moderate yet grand and unrestricted feeling; its rhythms, slow and fast, express the sense of delight, anger, sorrow, and joy well.