The ramie fabric, which has been used for a long time, is known as jerky and jerky, and the peeling of ramie grass stems is made from the material. Based on the records sent to the Tang Dynasty of China during the reign of King Gyeongmun of the Unified Silla Dynasty (r. 861-875), it was also used as a trade item with foreign countries.

Hansan Semosi is a ramie made by Hansan, which has long been called the epitome of ramie, due to its excellent quality, delicacy and elegance. The production process is divided into nine courses: growing and harvesting, making fete, making ramie cakes, making ramie cakes, making ramie goods, ramie flying, ramie weaving, and ramie bleaching. First of all, grow it and harvest it. Tamoxi is a process of peeling and making an infinitesimal fiber, which is a process of splitting the Tamoshi. Mosi Samgi and Mosi Gut Making are the process of making thread by connecting broken Infi fiber, and ramie flying is determined by the thickness of the thread. After going through the grass-eating process of ramie magpie, use a loom to squeeze the ramie. Finally, ramie bleaching is the process of wetting it and drying it several times in the sun to turn it into a white jersey.

If the humidity was insufficient, it would be easy to break, so they had to squeeze it out of a hut that was not ventilated in the heat and could not work on windy or rainy days. Moreover, with the development of the textile industry, demand has decreased, and the local ramie weaving technology is gradually declining.

Hansan Semosi is a traditional summer cloth of high historical value that symbolizes the beauty of Korea. It was designated as an intangible cultural asset to protect and transfer its production technology. Na Sang-deok, a functional holder who lives in Seocheon-gun, Chungcheongnam-do, continues his career.

Gurye Hyangje Julpungnyu refers to a piece of instrumental music depicting the scene of Shakyamuni preaching the Lotus Sutra handed down in Gurye, Jeollanam-do at Vulture Peak, Gijjhakuta Hill. There are two versions of this music, one centered around daepungnyu (wind instruments) and the other around julpungnyu (string instruments). The way julpungnyu is played differs a little between those handed down in Seoul and those handed down in the provinces. The latter are named Hyangje Julpungnyu (julpungnyu of provinces). Originally, this was a piece of vocal music, but it changed to an instrumental and developed into a voluminous suite by adding other instrumental music pieces. It became a leading concerto in the country toward the late Joseon Period (1392 – 1910). It is presumed that it was divided into daepungnyu and julpungnyu in the mid-Joseon Period. Julpungnyu developed as a quiet piece chiefly played indoors. The separation between julpungnyu played in Seoul and those played in the provinces appears to have been made toward the late Joseon Period. Instruments used for julpungnyu are geomungo (six-stringed zither), gayageum (twelve-stringed zither), yanggeum (dulcimer), sepiri (bamboo reed flute), daegeum (bamboo flute), danso (vertical notched flute), and janggo (hourglass-shaped drums). As a quiet piece of music played indoors, julpungnyu is centered around string instruments such as geomungo, gayageum, and yanggeum, with wind instruments making as small a sound as possible. The piece takes about 70 minutes to perform.

Iri Hyangje Julpungnyu is a piece of instrumental music handed down in Iksan, Jeollabuk-do, depicting the scene of Shakyamuni preaching of the Lotus Sutra, at Vulture Peak, Gijjhakuta Hill. It has a cousin centered around daepungnyu (wind instruments), which differs from julpungnyu in terms of tone and instrumental composition. Iri Hyangje Julpungnyu, which originated in Iksan in 1958, is played on eight instruments (geomungo (six-stringed zither), gayageum (twelve-stringed zither), yanggeum (dulcimer), piri (flute), daegeum (bamboo flute), haegeum (two-stringed fiddle), danso (vertical notched flute), and janggo (hourglass-shaped drums). It is composed of 15 separate pieces of music.

Farming song that captures the long-standing farming culture and the work of farming in Haman-gun.



"Haman Nongyo" is a composition of the long-standing farming culture of Haman-gun and the spring, summer, fall, and winter farming as a framework, reviewing the parts that were temporarily and piecemeal as part of the local event program from the 1980s to 1990s.

The exhibition is held every year by compiling books related to "Haman's Old Folk Song" and Ilsori in Haman.



Haman Nongyo is a very detailed portrayal of the process of farming during the four seasons, and unlike traditional farming songs, its fast-paced work is outstanding in its lively production is full of excitement.

National Intangible Cultural Property No. 11-7 "Gimcheon Geumneung Binnae Nongak" is a nongak inherited from Binnae Village in Gwangcheon-ri, Gaeryeong-myeon, Gimcheon-si, Gyeongsangbuk-do, and has the characteristics and characteristics of nongak in inland Gyeongsangbuk-do. In particular, Gimcheon Geumneung Binnae Nongak is characterized by a grand drum play with both hands, and the military service that is displayed in Pangu (Yeongpoonggut, Yeongsan Daryeongi).

"Namwon Nongak" is a nongak handed down in Ongjeong-ri, Geumji-myeon, Namwon-si, North Jeolla Province, and has the characteristics and characteristics of Honam left-hand Nongak. Namwon Nongak reflects the characteristics of geollipgut along with the village rite consisting of Deuldangsangut, Madangbapi, and Pangut. In particular, the back-gut (stolen jab, talent) composition of pangut is unique, and the winners are still making their own boulevards, which are only used in left-hand farming music in Honam.

Yeomsaekjang refers to a craftsman who dyes cloth with natural pigments. Specifically, the art of dyeing, which has been designated as Important Intangible Cultural Heritage, involves dyeing with indigo. In the Joseon Dynasty, dyeing was a highly specialized skill such that a dyeing specialist was attached to the royal court. Natural dyes used for coloring cloth are plant, mineral, or animal matter, used as is or slightly processed. There are all kinds of dyes, but the indigo bush (Persicaria tinctoria) was the most difficult to use; the complicated dyeing process also required a high level of skill. With modernization as well as the introduction of chemical dyes, traditional dyeing has all but vanished. Thanks to a handful of dedicated craftsmen who have worked to revive the art since the 1970s, however, the art has been kept alive.

Pansori refers to a singer weaving a long story by mixing a spear (sound), anil (word), and body gesture (screw) to the rhythm of the drummer. After the mid-Joseon period, the song was developed based on the unique tunes of the southern part of the country. Depending on the region, it was divided into Dongpyeonje (Northeast of Jeolla-do), Seopyeonje (Northern Jeolla-do), and Jungdongje (Gyeonggi-do and Chungcheong-do).

Currently, only "Chunhyangga, Simcheongga, Sugungga, Heungbooga, and Jeokbyeokga" are handed down as five madang of pansori or five bahtang of pansori, and are designated as UNESCO Intangible Cultural Heritage of Humanity.

Although Pansori in Daegu does not have a specific name for its creation, many master singers have been active in the Daegu area since ancient times and have unique characteristics. Lee Myung-hee, designated as the holder of pansori entertainment, continues the tradition of Dongchoje Pansori Heungboga, which was taught by Kim So-hee, while Joo Un-sook, a master singer, continues the tradition of Dongchoje Pansori Simcheongga, which was taught by Lee Il-joo.

Born in 1955, Lee Eun-kyu was studied by Yoo Geun-young, Lee Eun-gu and others. Buan Yuchun-ri Kiln Site is famous for producing Goryeo celadon with Gangjin Sadang-ri, and Yi Eun-gyu is striving to recreate the reputation of the old Goryeo celadon and to produce new works.

Born in Buan in 1935, Kim Jeong-rak was taught Korean traditional architecture by potters Kim Hyung-oh, Kim Young-sun, and Ko Taek-young from childhood.

The head of a ranch refers to a carpenter who performs the art of building a house with timber and finishing and trimming timber according to the technique. The lower part of the head of a ranch is composed of left and right sides.

Kim Jeong-rak has been engaged in hanok architecture in the Jeolla provinces and other areas of the Jeolla provinces for more than 50 years, especially in Confucian architecture such as Seowon, Hyanggyo and Jaesil.

Bedding refers to threading a needle into a thread to make the whole of the doubles, which is to make the clothes dry and sew, or to embroider to make them more beautiful, or to make the clothes decorated with a paddle.

Making clothes is a complicated task that is completed through various processes as well as sewing techniques.

A needle is used to sew cloth and cloth as a tool of a needle.

The needle is divided into fine, medium, and thick needles according to the thickness. Fine needles are used to make clothes with cloth such as silk or silk, or to sew delicate parts such as feathers or silk. A medium needle slightly thicker than a fine needle is usually used to make clothes with coarse cloth, such as cotton or cloth. Other thick needles were used to sew blankets rather than clothes, but the ears of the needles were large, so they were usually used in layers of thread.

In addition, sewing tools include thread, ruler, scissors, iron, etc. to make comfortable and beautiful clothes for the family in each household.

However, the most important factor that determines the appearance, dignity, and utility of the clothes depends on the sewing skills of the master craftsman who is in charge of the bedding.

Therefore, the burial site was not just about stitching clothes, but was in charge of selecting fabrics, designing, finishing, and sewing, so if the process of making clothes is not entered like panorama, proper clothing cannot be made, and the traditional burial function in Chungcheong Province has been faithfully continued.

Gungsijang refers to the skill of making bows and arrows, or to such an artisan. A bow-making artisan is called gungjang and an arrow-making artisan is sijang in Korean. It is said that Koreans have displayed particularly excellent skills in the production of bows and arrows. In ancient times, the Chinese called Koreans Dongi, meaning people in the east skillful in archery and the production of bows. The shape of bows used in Goguryeo (37 BC – 660 AD) can be seen in murals dating from the period. They look similar to those used nowadays and so it is thought that the traditional bows have been handed down with no noticeable changes. Even during the Goryeo (877 – 1394) and Joseon (1392 – 1910) Periods, archery was regarded as an important skill. In the early Joseon Period, archery was one of the subjects that applicants for a state-administered exam for recruitment of military officers had to pass. With the introduction of matchlock rifles during the Japanese Invasion of Korea (1592 – 1598), bows ceased to function as a weapon. Bamboo or mulberry wood, water buffalo horn and ox sinew were used in the production of bows. Korean bows were made with ox horn and sinews. They could send arrows a long distance. The body of the bow was mainly made of oak and mulberry wood, and bamboo is also used to increase the tensile strength. To make the bowstring and the parts for connecting it to the body, ox sinew, ox horn and yellow croaker glue were used. Bows were not made in summer, as the stickiness of yellow croaker glue is reduced in hot and humid weather. Tools used to make the bows were saw, plane, wood hammer, file, knife, awl, wood pincer, wood comb, and metal comb. Types of arrows included mokjeon (wood arrows), cheoljeon (metal arrows), yejeon (long arrows used in special events), sejeon (thin arrows), and yuyeopjeon (willow leave-shaped arrows). Bush clover wood, bamboo, metal pieces, bird feathers, pear skin and glue were used in the production of arrows, which were made throughout the year.

Dancheong refers to the beautiful and magnificent decoration of wooden structures, woodworking, and sculptures by drawing various patterns and paintings in five colors: blue, red, yellow, white, and black. Dancheong also has a function to prevent corrosion of buildings and objects, cover up the crude nature of materials, and to distinguish them from general practice when performing religious rituals.

Dancheong was popular in China, Korea, and Japan, where Buddhism and Confucianism were prevalent, but Korea is the only place where the tradition continues. The origin of Dancheong in Korea can be found in the ancient tomb murals of Goguryeo and was further developed with the acceptance of Buddhism.

Since ancient times, the government office has been carrying out dancheong such as Hwasa, Hwagong, Gachiljang, and Dochaejang, including palaces, guesthouse, shrine, and nujeong. The temple also had its own group of painters called Geumo and Hwaseung, which also produced Buddhist statues, Buddhist paintings, and sculptures.

The types of dancheong are divided into Gachil dancheong, Gigi dancheong, Morodancheong, Eolgeum dancheong, and Geum dancheong, and are subdivided into Moro-gigi dancheong and Geummoro dancheong.

Kwon Hyeon-gyu, the head of Dancheong, was introduced to Buddhist monk Hwaseung in 1968 at a young age and has devoted himself to Dancheong for more than 30 years, leaving many outstanding works that are stable and magnificent, including dancheong and tanghwa.

Seokjang, the skills of stone masonry and master masons, were indispensable to the construction of Buddhist temples and palaces. Masons participated in the projects by crafting Buddhist statues, pagodas, and bridges from stone. The numerous stone artifacts handed down from the Three Kingdoms Period (1st century BCE ~ 7th century CE) attest to the advanced standard of stone masonry accomplished by ancient Koreans. Granite was the most popular material among Korean masons throughout history since it is one of the most widely distributed stones in the country; they also used agalmatolite, bluestone, and marble. Working with simple tools such as hammers and chisels, the stone masons breathed life into their solid inanimate material, thereby cultivating a refined art form. With the introduction of machine carving, however, traditional stone craftsmanship has gradually disappeared in modern times. The time-honored skills of ancient Korean stone masons have been designated as important intangible cultural heritage so that they can be effectively preserved and transmitted to future generations.