This is a tutelary rite held in early January on the lunar calendar, or in spring or fall annually, or biennially or triennially near Seoul or Suwon or Incheon, to pray for peace and a good harvest. At present, a complete version of the rite can be seen only in Jangmal, Bucheon. The shrine for village guardians in the pine forest, which is more than 300 years old, tells us that the exorcism rite started during the Joseon Period (1392 – 1910). The rite starts in the morning and finishes the next day morning. It is performed by a hereditary exorcist skilled in songs and dances. Male exorcists liven up the atmosphere, doing tightrope walking, cracking jokes and displaying various feats. Songs and dances by gisaeng (female entertainers) used to be included, but they have disappeared. Participation of male exorcists (called Hwaraengi) in the rite distinguishes Gyeonggi-do Dodanggut from those performed in other areas. Music and rhythms used in this rite follow those of pansori (epic chant). Displaying high artistic quality, Gyeonggi-do Dodanggut is regarded as a valuable source material for anyone studying the country’s traditional culture.

A inkstone refers to a stone that grinds ink, and there are four tools needed for calligraphy, which is a unique culture of the Orient, which are called Munradaeu (Ji, Phil, Muk, and Yeon), among which a inkstone grinds ink.

The ink should be ground well and its own dark color should be visible. On the surface of the floor, there is a fine squirt, such as a whetstone, and the ink is created by pouring water and rubbing it against the ink. Apart from its simple function, it is sculpted in the margin of the inkstone, so the patterns show the emotions of the time.

In general, a inkstone reminds you of a black stone and a wooden stone that is commonly used in the market.

However, the Danyang magnetic wall was called the magnetic wall because the color of the stone was red, and the moisture absorption rate of the stone itself was extremely low, so once ground ink could be used for a long time, the ink would not dry, the color of the ink would not change, and the stone would be soft and hard, so there would be no residue. In addition to the richness of ink and the strength of the gemstone, the ground for grating does not wear out easily, so it can be preserved and used for a long time.

As for the inkstone, it can be carved into a variety of 傳統文, including 雲龍硯, which expresses the dragon and cloud with the best conditions, 日日, which expresses the sun and the moon, 神神, which expresses the turtle, 四友硯, which expresses the pine-tree-maehwa, and 국-四 표현한, which expresses the plum-nancho-chrysanthemum-and-tree.

Under the influence of his father, Habangye, who was working as the 38th Beopsa of the Jeollabuk-do Intangible Cultural Festival, he entered the shamanic house, received a river god in his 20s, performed Naerimgut, and at the age of 28, he was taught Honam Raspir Exorcism by a nutritionist from Gunsan, Park Bok-seon, and Ko Dong-shim.

Honam Spiritual Exorcism is a local folk culture handed down with unique locality and artistry as a form of shamanism that adds both hereditary sorcerer and strong divine characteristics to the afterlife by recovering the souls of drowning people from the water and sending them to the underworld.

Since the Joseon Dynasty, the tradition and customs of the Korean people have been established, and it was a typical trend of leap month in Seoul.

According to Hong Seok-mo's Dongguk Sesigi, "Yundal custom" is believed to have led Jang's women to visit the temple and offer money to the temple, and from heaven." The contents of Dongguk Sesigi appear to have witnessed and recorded in person the life and death of a Buddhist temple in Seoul.

Even during the Joseon Dynasty, when Confucian culture prevailed, temples around the capital city continued to inherit the tradition of Buddhist rites. The temples in Seoul continued to develop these historical and cultural foundations to maintain the reputation of the temple and to establish itself as a seasonal custom of Korean traditional culture.

Seoul's Jesus is worth preserving as an intangible cultural asset of the Seoul Metropolitan Government, given that it is a representative intangible heritage used in Seoul, and that it retains the original form of Jesus, which was seen at the time of the seventh anniversary, after completing the six-year-old ritual ceremony to suit.

Seoul's "Survival Jesus" will be designated as a group without a holder in that it is an intangible heritage handed down through an organization.

Gotham's chunks are liquid, liquid, and fermented chunks. There are not only colors in Gotham's water, but also numerous fermented microorganisms. The water flows through the village and becomes a mysterious color, drawing Buddhist paintings becomes a subject of worship, a gift given to the family's eldest son on the day of the coming-of-age ceremony, and a talisman-like gift to a traditional family that has lived for generations.

In Gotham, various kinds of living things play their roles even without colors, so they function as preservatives and insect repellents. Using these functions, traditional Buddhist art preserved the foundation for more than a thousand years.

The secret recipe for the jjokmul is passed down as a relic through the Goryeo Buddhist painting, Baekui Gwaneum, and it was passed down to Gotham, becoming the only invention patent (No. 10-0420990) in the world and giving birth to the most skilled craftsman in Gyeongsangnam-do.

Gotham water is a pure natural product unlike natural or chemical dyeing.

Pansori refers to a singer who intertwines a long story by mixing a spear (sound), a horse (anirli), and a gesture (a shape) in tune with the rhythm of a drummer (a (a drummer).

Pansori was famous for its eight famous pansori singers from around 1834 (r. 1800 to 1834). The rhythms and tunes of the pansori were developed as they are today. The pansori was divided according to regions such as Dongpyeonje (Northeast of Jeolla Province), Seopyeonje (South Jeolla Province), and Jungdongje (Gyeonggi Province and Chungcheong Province).

Among them, the sound of Dongpyeonje passed down from Song Heung-rok to Song Gwang-rok, Park Man-soon, Song Woo-ryong, Song Man-gap, and Yoo Seong-jun was loud. The sound of Dongpyeonje is composed of a thick, grand ornamentation that uses a lot of the tune of Useong, one of the five tones, and makes the voice heavy and the tail of the sound short.

At the time of Pansori, the length of one yard was not that long, so the number of pansori twelve madangs was high, but now only Chunhyangga, Simcheongga, Sugungga, Heungbo, and Jeokbyeokga are handed down because of the five pansori or five batangs of Pansori.

Heungboga is one of the five pansori yards and is also called Baktaryeong. Heungbo, a poor and good brother, fixed the broken swallow leg and planted the gourd seed that the swallow had brought to him to become rich. Nolbo, a generous and greedy brother, broke the swallow leg and planted the gourd seed that the swallow had brought, and made a pansori of the story that the pansori tells the story.

Park Jeong-rye, whose Dongpyeonje Heungbo was designated as a holder of entertainment, came from a traditional pansori family that had been associated with pansori since her grandfather's generation, and spent her entire life with pansori. Currently, Suncheon Gugak Center is training its students for the victory of Heungboga, the Dongpyeonje.

Nongyo is a song that is sung to forget fatigue and improve efficiency while working on rice paddies and fields, also called wild songs or farming sounds. Singing individually or collectively as one of the folk songs, the song may vary depending on the region.

Goheung Hanjeokdeul Song is in an important position in terms of music, adding the sound of the yukja-baegi-kwon to the sound of the Menari-kwon. In terms of distribution rights, it belongs to the South Jeolla Province birth control group. The content consists of a mochi song, a rice planting song, a rice paddy song, and a jilgut. Mochi and rice planting are usually performed by women, and Mochi songs are sung from dawn to morning, steaming unknowns. There are Bangae-taryeong, which is sung before a meal, and Du-gurae, which is sung after eating. Nonmaegi song is sung by men while hanging rice paddies. Jilp is a song sung on the last day of the rice paddies and is sung when they are about to lose. Jiljisim is a song sung by farmers as they return to the village playing pungmul on the day of the rice paddies. In other areas, it is called jangwonjil nori or jilkkonngi. The Mochi-gi song, Mochi-gi song, and Non-maegi song are in the form of

Hanjeokdeul's song is centered on songs with a yukja-baegi scale, and is a song that combines yukja-bae-gi and manari-jo, such as Bangae-taryeong, and has a very important musical value. Jung Bong-ju, a man living in Goheung-gun, and Park Ban-sim, a woman, are continuing their careers.

A tanghwa refers to a Buddhist painting (佛畵: a painting drawn in a frame or scroll form by drawing on a piece of cloth or paper to easily express and widely convey the contents of Buddhism), and the person who has the technique of painting such a tang is called a tanghwajang.

Tanghua was painted for use in Buddhist events because it was much easier to make than other Buddhist paintings and could be moved without being fixed.

It is assumed that the tanghwa of our country began during the Three Kingdoms Period with the introduction of Buddhism. This can be seen from the records of "The History of the Three Kingdoms" that Silla painter Solger painted an old pine tree on the wall of Hwangnyongsa Temple.

In addition, the stone tangerines of Seokguram, which were made during the reign of King Hyegong of the Unified Silla Dynasty (r. 765-780), are believed to have been widely painted during the Unified Silla Period, starting with the Three Kingdoms Period.

In the late Joseon Dynasty, many of the temples were painted as they were renovated.

Taekwondo is a modern martial art that is the birthplace of Korea, and is the national flag of Korea. It is a martial art that aims to effectively subdue the opponent by using hands, feet and other body parts centered on Bilchagi.

Muju Anseong Nakhwa Nori refers to a traditional Korean folk game in which people hang a long line of Nakhwabong Peak with charcoal powder, sageum fly, salt, and dried mugwort on the fifteenth of lunar January, before rice planting, and on the fifteenth of July, and light it up to enjoy the shape of fireworks and the sound of explosion. This is also known as 'Julbulnori,' or 'Julbulbul.'

1. Fireworks and Nakhwa games

There are earthenware, firecrackers, lotus lanterns, volcanic belt, julbul-nakhwa nori, buldan-nakhwa nori, egg fire, torchlight play, and ddakchong nori.

2. Regional Distribution of Nakhwa Nori

"Yeondeung" in Bukcheong, Hamgyeongnam-do, "Yeondeung" in Jeongju, Pyeonganbuk-do, "Nakhwa Nori" in Yeoju, Gyeonggi-do, "Fireworks" in Cheongju, Chungcheongbuk-do, "Yeondeung and Gwaneung" in Chungju, Chungju, North Chungcheong-do, "Yeonyu-Julbulnori" in Andong, North Gyeongsang Province, and "Yi-Sujeong Nakhwa Nori-dong in Haman Province" in South Gyeongsang Province, South Gyeongsang Province, South Gyeongsang Province, South Gyeongsang Province..

3. Characteristics of Nakhwa Nori in Korea

First, our country's Nakhwa Nori is distributed nationwide. Second, the performance period is held on the first day of the fourth lunar month and on the fifteenth day of the first full moon of the first lunar month. Third, the venue for the performance takes place in the village. Fourth, the organizer of the performance is the villagers. Fifth, the materials used for making are charcoal, hanji, and string. Sagum fly, mugwort, salt and sulfur are added. Sixth, according to the contents of the performance, there are various types of firework, such as firework, firework, lantern hanging from a pole and lighting it up.

Records tell us that on the Korean Peninsula, embroidery started during the Three Kingdoms Period (circa 57 BC – 668 AD). During the Goryeo Period (877 – 1394), the practice became so widespread that it was adopted even on the clothes of ordinary people. As a result, embroidery was prohibited several times. With the start of the Joseon Period (1392 – 1910), the practice developed further and was divided into royal embroidery, exquisitely made by skilled court ladies, and the others. Looking at how a piece of embroidery is made, first the cloth to work on is fixed onto a frame and a rough sketch is made on it. Upon the completion of embroidery, the frame is shaken to remove dust. Then, a thin layer of paste is applied to the back of the embroidered surface so as not to let the stitches scatter. The embroidered piece is then placed in the shade to dry and removed from the frame. Embroidery has developed as a reflection of Koreans’ living environment, customs, and beliefs.

Sodongpae is a type of dure that is organized for collaboration in the Namdo area. Dure can be divided into a large group of adults over the age of 20 and a small group of young people before the age of 20. Sodongpae mainly engaged in joint labor such as grass-beating and gimmaegi, which originated from the daily life of nongak, dance, and singing in order to forget the hardships and boredom of labor and increase the efficiency of work.

Sodongpae nori is played throughout the day from morning to evening. It leads to a breakfast meeting, a group meeting to hurry to work, a road to work, and the sound of rice paddies when they make rice paddies. When they meet Daedongpae on their way back from work, a scorpion game is held to ask for greetings, and when they meet other teams, they play a game of game, but regardless of the outcome, they play Nongak and harmonize with each other. The folk song is a cheerful melody, and depending on the movement and play, it is sung in various ways, including Nonmaegi song, kerosene taryeong, Horyeong taryeong, Gaegori taryeong, and Bangae taryeong.

Hyeoncheon Sodongpae nori is a comprehensive folk art that combines labor, singing, and dancing, and the scorpion-raising of greetings contains a tradition of rural society that values manners toward adults.

Gudeok Mangkeuttajigi is a traditional folk song that includes the work of building a fence or pillar using a tool called Mangkeul to build a large building or house, and the song of labor (mangkeum) sung by a singer in the process.

Manggae are made by tying four to five handles or strings of wide stones or shits, and Busan uses wide stones, unlike other places. When the workers pull the rope up and let it go, the manga hits the ground and becomes more and more solid. As such, ironing the ground with a manga to strengthen the site is called a manga, and the sound called to relieve the fatigue of labor and to keep in step with the efficiency of work is called a manga.

The Gudeok Mangkeot Dajigi, which runs around Daesin-dong, Seo-gu, is of great folk value as it still has the old image of the work process of ironing the site with mangkae and mangkae, which are tools for ironing the site in traditional architecture, and the sound of mangkkeum is also valuable as a labor song in Busan.

It is a rare sound related to fishing labor that has been consistently called in parts of eastern Jeju.

The value of transmission as an intangible cultural asset with a close connection between function and song is very high in that it was naturally acquired and sung at the site of transmission.

Two songs (the sound of the four-spirited, the sound of a hairtail)

Yi Man-hui, a Yeonan clan member, had a close relationship with the royal family, with her ancestors attending "Jidadai" (a royal inspector). From his mother, the eldest daughter-in-law, to the wedding exhibition, he learned how to make traditional rice cakes and other traditional foods.

He has lived in Daejeon for more than 40 years since his marriage to Gwangsan Kim, and has continued the tradition of wedding food culture by making rice cakes and other food. Among his food manufacturing functions, various types of rice cakes, such as white rice cake, honey rice cake, and Shingum vinegar rice cake, were one of the most representative rice cakes in the Joseon Dynasty, which were referred to as white rice cake, wheat cake, and shingam vinegar rice cake.

According to the records of the Joseon Dynasty's royal court, the white rice is made of spicy rice, glutinous rice, stone mushrooms, pine nuts, chestnuts, jujube, chestnuts, pine nuts, and honey, and the sweet and sour chocolates are made of spicy rice, glutinous rice, vinegar powder, jujube, pine nuts, and honey. These ingredients are decorated with jujube, chestnut, and pine nuts on top of sesame oil-based hanji, and Lee Man-hee's adaptation inherits the Joseon royal family's recipe for rice cakes.

Baekpyeon, etc. was originally used in royal banquets combined with the development of tea culture. It was a typical rice cake made of spicy rice used with malcha in the Goryeo Dynasty and green tea in the Joseon Dynasty. It was a must-have tribute to Jin Chan-yeon of the Joseon Dynasty, combined with the tea ceremony, the essence of Yeonhui.