A pavilion was called a pavilion, meaning that the ancient characters were inscribed with an inscription on a solid material to indicate their own cover, so that they could not be altered. The engraving work started from the seal, but the Hyeonpan, Juryeon, and Jealu are all based on the pavilion, and recently, paintings including Sagunja have become an independent art.
The materials of the pavilion range from wood to stone, gold, silver, bronze, and brass, jade stones such as blue, yellow, white, and red, and porcelain such as celadon and white porcelain, ivory, auricular, auricular, a white, and blood vessels such as a godmother.
Ahn Jung-hwan, the holder of the hall, worked in the hall for more than 55 years after receiving a royal edict from his father under the rule of Ahn Gwang-seok, a renowned calligrapher and a hallkeeper. Jeon Seung-gyebo was first handed down from Chusa Kim Jung-hee, who is called the epitome of the Korean pavilion, to ideal, reverse hawk Oh Kyung-seok and Wichang Oh Se-chang, while his father Ahn Kwang-seok took over from Oh Se-chang.
His father, An Gwang-seok, was born to Hyeil, a Dongsan of Beomeosa Temple, and was granted a private education by Oh Se-chang, the maternal uncle of the village, to establish an axis of the temple. Ahn Kwang-seok's angle was strict in the tactics and flawless in the technique. Ahn Kwang-seok has long lived in Busan, including annotations from Beomeosa Temple and Daegaksa Temple, and Ahn Jung-hwan also settled in Busan earlier and worked in Busan after his father.
Besides Ahn Jung-hwan is carved in wood and Rock Carvings donggak, trees, grid magnetic angle, wood and temperament according to the type of tree according to the (銅刻, 陶瓷刻, 瓦刻, 金屬刻) will be well aware.Stone material, as well as for reading well. In addition, the traditional wooden carving tool uses the technique of weaving rice paddies together like imitation, which is a unique style that only comes down from Ahn Jung-hwan's family.
The hall is a traditional function that has sufficient value as an intangible cultural asset, with clear transfer genealogy of the holder and excellent technique for traditional pavilions, as well as deep connection with Busan.