☆Songseo refers to the act of scholars reading Chinese characters or novels at a certain tone in traditional society. In traditional society, this was a kind of culture of aristocrats, as the contents of the letter were written in Chinese characters and novels. Transcripts are both artistic and historical.

In general, letters are sung in the musical language of the Seoul area. This is why Songseo is characterized by its historical nature as a product of the Joseon Dynasty and its locality as Seoul.

On March 5, 2009, Yoo Eui-ho (Yuchang) was recognized as the holder of the event.

※※ For detailed information on the above cultural assets, please refer to the Seoul Metropolitan Government Department of Historical and Cultural Heritage (02-2133-2616).

☆'Doju Juldanggigi(tug-of-war)' is a folk game in which both sides compete with each other by connecting 80 branch lines to a thick circle.

Local residents are divided into East and West to compete for power, which means that if eastern team wins, the country will prosper, and if western team wins, there will be a good harvest.

There is a popular belief that if you take the rope used in tug-of-war and leave it at home, you will be blessed.

☆Sokcho Sajanori is one of the immigrants played in North Korea until the 1950s, and the original form is still handed down to this day.

Sokcho Saja Nori reproduces Madang Nori and Village Dolgi (gilnori) that were with the village community from the day before the fifteenth of lunar January until the next day. The meaning of "Exhale evil spirits and greet a happy occasion" is well harmonized with the entertainment elements of touring from door to door.

Sokcho is the birthplace of displaced people, and the folk culture and language of Hamgyeong-do are continuously inherited, and the first and second generations of displaced people are sharing the lion's game with the center of Abai Village in Cheongho-dong, the largest residential area from South Hamgyong Province.

☆The origin of Songsun-ju (Solsongju) is a traditional fine liquor produced and drank by the family of Ildu Jeong Yeo-chang, one of the five prefectures of the Joseon Dynasty, more than 530 years ago.

Gaepyeong Village in Jigok-myeon, Hamyang-gun, the birthplace of Jeong Yeo-chang, was a clan village of the Jeon Family of Hadong, where Songsunju was served to visitors. It was said that the liquor was made of glutinous rice and became popular not only in Hanyang but also in the country due to the unique delicate of pine needles, and the king was praised for its excellent taste of alcohol every year. In Jeong Yeo-chang's family, the food culture was naturally developed as a constant visitor. Especially, 300 seats of rice were used as sikhye per year.

Since then, Songsun-ju's secret recipe has been passed down to the present day by his wife-in-law, Park Heung-seon.

☆Sijo is a genre of traditional Korean music that is sung to the accompaniment of Sijo poem (Korean traditional poetry), and has maintained its reputation without major changes even after the passage of time, and is highly valuable in history and art.

Regionally, it can be classified as Gyeongje in Seoul, Wanje in Jeolla-do, Naepoje in Chungcheong-do, and Yeongje in Gyeongsang-do, and has been handed down according to the characteristics of each region.

Among them, Naepoje Sijo is a representative musical instrument of Naepo area (northwest of South Chungcheong Province) that has been passed down mainly. Naepoje sijo (uppoje) exhibits unique characteristics in the transmission, rhythm, and singing style compared to the Naepoje sijo (lower Naepoje) previously designated in our province.

Naepoje sijo has had a profound influence on traditional culture such as traditional music in the northwestern part of Chungcheongnam-do and has been handed down to date, showing unique characteristics and differences in Chungcheongnam-do Intangible Cultural Property No. 17 (Wit-naepoje) and the existing designation of Chungcheongnam-do Intangible Cultural Property No. 17-2 (Wit-naepoje).

☆Dongbu(Eastern part of Korea) folk songs are sung in Hamgyeong-do, Gangwon-do, and Gyeongsang-do and East Sea coast, and its name is distinguished from Namdo(west-southern part of Korea), Seodo(west-northern part of Korea), and Gyeonggi(middle part of Korea).

The songs held by the holder Park Soo-kwan are Baekbal-ga(a song of white hair), Yeongnam Mo-song(field farming song), Bier Sori, Chiya Ching Ching-nane, and Jang Taryeong, which have generally well-preserved musical, literary and folklore characteristics as eastern folk songs.

Park Soo-kwan is a local folk song-maker who sings with the Menari-Tori of the Eastern Folk Songs, and he is striving to preserve and foster Eastern folk songs, including active transmission activities at home and abroad, for the victory of Eastern folk songs that have been neglected until now.

☆Gakjajang refers to a craftsman who engraves letters on wood, metal, stone, etc. It mainly produces woodblocks for printing and wooden furniture works such as wooden boards, door-gaps, and bookcases of traditional buildings.

Park Hak-gyu, the head of Yesan gakjajang, began learning traditional wood carving under Im Byeong-seon in 1971, and devoted himsel for more than 40 years using traditional materials and techniques.

☆Jang Un-jin entered the traditional architecture field at the age of 15 and has spent more than 50 years working on traditional architecture 50 years. He was recognized as a holder in 2019 as he was highly regarded for his excellent performance in the field of traditional tools and facilities, as well as his excellent performance in transmission.

☆Baecheop refers to a traditional method of making a scroll, frame or folding screen for preserving calligraphic letters and pictures. Baecheopjang refers to an artisan belonging to the Dohwaseo (Bureau of Painting).

It is said that picture mounting started during the Han Dynasty of China and developed further during the Tang Dynasty. Folding screens appearing in mural paintings of Goguryeo lead us to presume that the skill was introduced to the Korean Peninsula during the Three Kingdoms Period (circa 37 BC – 668 AD). The skill continued to develop during the Unified Silla (668 – 935) and Goryeo (877 – 1394) Periods. In the Joseon Period (1392 – 1910), artisans skilled in picture mounting were designated as Bacheopjang.

There are five types of picture mounting – making scrolls, making folding screens, making frames, binding and refurbishing.☆

☆Yoo Bae-geun was born in 1953 and was studied by his father Yu Yang-su. He won a number of prizes, including the Jeonbuk Craft Competition.

Hanjibal is the most essential tool for making hanji(traditional paper). The production items are hanji oebal(a Bal), hanji ssangbal(a pair of Bal), and pattern Bal.

Hanjibal is the most important things to activate our hanji, especially in order to revive our traditional Korean oebal, which are now disappearing due to the Japanese style of ssangbal.

Yu Bae-geun is well versed in the complex and detailed process of processing bamboo and horse tails, so the level of Hanji-bal manufacturing technology is excellent.

☆Born in Sunchang in 1940, Lee Jeong-ho was taught Deulsori(field song) by Park Hong-gyu, Yang Hak-gu, and Seol Dong-geun. He won a number of prizes, including the Jeonbuk Arts Competition, the National Folk Arts Festival, the National Folk Song Contest, and the National Sijo Writer Competition.

Geumgwa Deulsori, The sound of the golden fruit is a representative agricultural song of this region that contains a simple desire for a good harvest by overcoming the difficult farming work through mutual assistance.

Lee Jeong-ho is a singer of the Geumgwa deulsori, and he is good at writing lyrics that are suitable for farming, such as watering rice paddies, planting rice seedlings, and hanging laver with the lotus flowers taryeong, banga taryeong, saho-sori, and jangwon-jil-sori.

☆"Uidang Jipteo Dajigi" is a folk culture that began around the 15th century in Uidang-myeon to strengthen the structure of the house by preventing the collapse of columns on the site where the building will be built.

In the past, making hard a housing site before building in Gongju was a ritual for worshiping and unifying the earth god, and it was a process of life and faith that emerged as a result of the sound of human beings, earth, and earth becoming one.

Teo Dajigi, performed by cultural and realistic needs, includes a house site, a graveyard ironing, and a soil ironing used for embankment construction, which is a song sung by several people to keep in tune.

Iron casting is one of the oldest professions of mankind. Iron technology is assumed to have been introduced to Korea around the 5th~6th centuries BCE. According to “Dongyichuan (Biographies of Dongyi) in Weishu (Book of Wei)” from Sanguozhi (Records of the Three Kingdoms), Koreans produced and traded iron ware.

Considering the crucial role of iron in the development of civilization, iron technology and smiths were matters of national interest in ancient states. With the introduction of Buddhism to the Korean peninsula, Buddhist temples were built all over the country, and numerous temple bells were cast. Naturally, bell founding became an important profession.

Korean temple bells are characterized by their clear sound with deep resonance and exquisite surface decoration. Mostly shaped like upturned crockery jars, Korean bells typically have a dragon-shaped hook and a sound tube at the top. The oldest known temple bell in Korea is the Bronze Bell of Sangwonsa Temple in Odaesan Mountain, made in 725 during the Unified Silla Period. In terms of size and aesthetic value, the Sacred Bell of the Great King Seongdeok, dated 771, is considered peerless.

Korean temple bells were traditionally cast using beeswax models. The method was briefly introduced in the Chinese text Tiangong kaiwu (Exploitation of the Works) written in the 17th century, only to be discontinued under the Confucian-oriented Joseon Dynasty.

Though they vary according to the size of individual bells, Korean traditional-style temple bells are basically cast with an alloy of copper (80%) and tin (17%). For the model, beeswax is mixed with cow fat at a ratio of 8:2, but the ratio changes according to climate.

The authentic bell founding process is as follows: bricks are piled to form a support mount slightly smaller than the intended bell size; a mixture of clay and sand is applied to the brick mount until the intended bell form is obtained, and the surface is smoothed out with a mixture of graphite powder and water; a wax model engraved with all the decorative patterns is made over the mount; the model is covered twice with a thick mixture of clay and coarse sand and allowed to dry; heat is applied to melt the wax inside; molten alloy is poured into the cavity; after the alloy cools and hardens, the mold is removed, the bell is trimmed, and the surface designs are given their final touches.☆

The term chiljang refers to the craftsman who creates lacquerware by applying lacquer -- or the refined sap of lacquer trees (Rhus verniciflua) -- to various objects. The first trace of lacquer use dates back to the third century BCE, but the earliest relics of lacquerware date back to the first century BCE.

Lacquerware began to develop into an art form during the Nangnang (Lelang) Period and progressed further in the Silla Kingdom. In the Goryeo Dynasty, lacquered works were decorated with mother-of-pearl inlay, creating a new art form called najeon chilgi. In the Joseon Dynasty, lacquerware became more common, and many works were produced. The state compiled data on the distribution of lacquer trees nationwide and collected the sap from these trees. Lacquer craftsmen working in the capital and in the provinces were affiliated with their local government offices.

The raw lacquer from the trees had to be refined before it could be used, and lacquer craftsmen would do the refining themselves. The refining process removes impurities and creates a fine particle liquid. Creating lacquer works is a long, laborious process. The item to be lacquered, called soji, had to be made of materials that are easy to work with and to paint, including wood, bamboo, cloth, paper, clay, and metal.

First the object is smoothed down, and then the lacquer is built up in many coats, requiring lacquering, smoothing, and drying over and over again. Basically, the process is divided into three steps: chochil (first lacquering), jungchil (middle lacquering), and sangchil (final lacquering). After the final coat, the object is vigorously polished.☆

☆Bang Hwa-seon

- A bronze medal at the 2000 Jeonbuk Craft Competition
- Statue at the 2005 National Craft Competition
- Winning a prize at the 2005 Victory Crafts Competition