In traditional society, nongak has three main ways of existence. First, nongak related to rituals such as dangsangut or yard treading, and second, nongak related to labor and play, such as duregut played in Gimmaegi with durekun, and third, pangut related nongak.

The current "Gabbi-gocha Nongak" is a pangut-style nongak related to play, and the main theme of this song is Nongsa-gut Nori, which reproduces farming work as a play.

These farming rituals are found in parts of Gyeongsangbuk-do and Gangwon-do, and are largely characterized by the preservation of similar nongak in Ganghwa, which is far from the region.

Oeyeondo Dangje is a traditional ritual held on the isolated island of the west coast, which is held on February 15 of the lunar calendar every year.

Oeyeon-do Dangje can be seen as a typical example of folk beliefs on the coast of South Chungcheong Province, including a number of symbolic elements of traditional culture, and various sacrificial rites such as Dangje, Pung-eohje, and Jeonhaeng General's Sadangje are held, including ritual procedures and pungmul sounds with unique characteristics of the island area. These rituals are more popular because they have procedures for offering non-stated offerings, including tribute, cultivation, and shamanistic tales, without the introduction of Confucian texts.

The rite was held three times a year before the 1970s, but was later reduced to Jeongwolje Shrine in 1987 due to the voluntary will of the residents, but the ritual was held in accordance with the tradition.

With such diverse intangible cultural heritage elements, Oeyeon-do is an important religious material that represents the island area of South Chungcheong Province and shows the differentiation of mountain gods and human gods amid changes in religious needs in terms of Korean folk beliefs, so 이므로span class='onmouseover='onmouseover='up2 (2060)' is onmouse.

One of the folk games handed down in Dongnae area is a form of folk belief-like village exorcism that soothes the spirit and repels evil spirits.

Jisinbapgi is a kind of mask parade that has been performed on the fifteenth of lunar January for a long time. It is religious to pray for the peace of the village and family and to pray for a good harvest of the year. The current Dongnae Jisinbapgi was reconstructed from the late Joseon Dynasty into a circular shape and refined into a folk game from around 1970.

Dongnae Jisinbapgi prepares musical instruments, costumes, and tools in December of the lunar calendar, and it is composed of 35 people from all classes of Joseon Dynasty, including four daebu, catcher, Hadong, and Gaksi, to practice playing. The nobleman is qualified for general command, and Hadong and the catcher serve as the counterpart to boost the excitement. The humorous lines of Hadong and the catcher against the nobleman contain satire that ridicule the nobleman.

The play consists of the four madangs of Jusan Jisinpuri, Dangsan Jisinpuri, well Jisinpuri, and Saengwonjipnip Jisinpuri. They hold ancestral rites in Jusan and Dangsan, and then come down to the village to hold a rite in the village well spring. Finally, Jisinbapgi is performed from house to house. If you step on the authority, the landlord offers liquor, grain, and money as examples, and grain and money are spent on joint projects in the village.

Unlike other folk games, which focus on pungmul nori, Dongnaeji Sinsinbapgi is characterized by a gutgeori rhythm and a deobaegi dance. Currently, the Busan Folk Arts Preservation Association and Jeongsu School are striving to transfer and distribute the art.

The sound of bier Didylbanga Liquid Membrane was a method of "civil belief" to prevent diseases when infectious diseases were prevalent and human lives were lost during the dynasty when medical techniques were not developed. It may be futile for modern people with advanced medical skills, but our ancestors believed that this could prevent and cure diseases.



The ritual of folk belief was accompanied by "Sound," which was referred to as "Geochang Sangyeo Didilbanga Liquid Sound" or "Geochang Didilbanga Liquid Sound."

There are five types of traditional Korean rituals: Sangju Kwon Gongjae, Saengjeon Jesusjae, Siwanggak Baeje, Yeongsanjae and amphibious landing materials.

The Sangjugwon Public Property Office is the smallest of its kind, and the Biographical Precipitation is a ritual performed in advance in the hope that the living person will pray for the souls of the dead after death, while the Siwanggakjae is a medium-sized one, and the Yeongsanjae is often held on land and land to honor the thousands of important people in the country and the institution. As the purpose is different, the type of 齋壇 that is installed for this purpose varies, and the order and contents of the ashes are changed accordingly.

National Intangible Cultural Heritage No. 127 "Bottom Landing Material" and "Yeongnam Yeongsanjae" were designated separately because their purposes and contents are different.

Yeongnam Yeongsanjae's panhandle embodies religious, historical, cultural, and locality along with its artistry, including Buddhist rituals and ritual songs that have been carried on since the Silla Dynasty, instrumental accompaniments such as gongs, drums, and kkwaenggwari, and various types of kkwa.

Therefore, the beauty of Yeongnam Yeongsanjae can be found in religious, historical, and cultural values along with its artistic value. These artifacts were designated as intangible cultural assets for continuous succession of genealogy and preservation and management of local cultural heritage.

Soongseonjeon Hall is a pavilion dedicated to the ancestral tablets of King Sijo of Garakguk and his queen Heo, and is dedicated to supporting local folk paintings. This pavilion is one of the eight exhibitions, along with the Royal Tomb of King Gukjodan and King Dongmyeong of Goguryeo, the Sunginjeon of King Hyukgeose of Silla, the Sungdeokjeon of King Talhae, the Sunghyejeon of King Algi, King Munmu and King Gyeongsun of Baekje, the Sungyeoljeon of King Onjo of Goryeo, and the Sunguijeon of King Sijo of King Sijo of Goryeo.

The Great Festival of Soongseonjeon is held on March 15 of the lunar calendar for Chunhyang and September 15 of the lunar calendar for the second time, and the time is held for about an hour from 10 p.m. of Sango. It was originally said that it was held for 334 years until the 12th year (532) of the 10th King Guhyeong (Goohae or Guchungwang) when it began to accept the memorial services for five times a year on the 3rd, 7th, 5th, and 15th of January.

Even after the annexation of Silla, ancestral rites continued. In the 30th year of Silla and the year of the reign of King Munmu (661), the ancestral rites were held at the Jongmyo Jerye, and 30 royal protocols were dedicated to the royal family near King Suro's tomb and managed by the Gaya army.

In 1792 (the 16th year of King Jeongjo's reign), the entire school of Chunchushihyang, the founder of Garakguk, was established. Since then, the congratulatory message of the Chunchudaeje Festival has been issued under the name of the king of the Joseon Dynasty, and 53 articles of incense and other products, including Uiseong, were prepared by the Gimhae-bu and protected them. In addition, the Lunar New Year, the Lunar New Year, the New Year, Dano, the same year, the same year's Day, Dano, the same year's Day, the same year's Day, the same year's Day, the same year'

Darye is a rite of courtesy to give tea to a person or a Buddhist monk, and although it is a royal tea ceremony, it is a tea ceremony for oil prices, impossibility, and family members.

It is not known exactly when tea, also written as Myeong or Cheon, began to be consumed as a drink.In The History of the Three Kingdoms, the tea was from Queen Seondeok.A record of ' indicates that he drank tea at least in the 7th century.

In addition, in 828 (the third year of King Heungdeok's reign), " Chinese tea tree seeds were brought in and planted on Mount Jiri to meet the growing demand.There's a record of ."In <The History of the Three Kingdoms>, a tea ceremony was held at the Jongmyo Shrine of Gaya during the reign of King Munmu of Silla in 661, along with rice cakes and fruits.The record of " shows that he drank as a symbol.

The royal tea ceremony of the Goryeo Dynasty was held during the royal ceremony of Taehu, Taeja's Book Peak, Wonja's Birth, and Taeja's Birthday. The record of tea served by the princess when she was married is shown in "Goryosa".

The royal tea ceremonies and royal tea ceremonies of the Joseon Dynasty can be divided into the tea ceremonies for envoys and royal families. Hwagang was a lecture on scripture and fraud by gathering the management and empty guests of the teacher and Si Gangwon, and the records of his tea ceremony are shown in the Annals of King Sejong. The ceremony was held in Taepyeonggwan, Sajeongjeon, Injeongjeon, and Myeongnyundang until King Gojong's reign, in which the king or prince served tea to Chinese envoys.

A brief introduction to the procedures of Kim Eui-jeong's private reception is as follows.

The king's chair shall be installed on the west wall, the envoy's chair shall be installed facing west on the east wall, and the north side shall be installed on the north wall.The king and the envoy take their seats after the town.One person to remove the sandal is to stand on the west side, while another person is to stand on the west side with a tray of tea and tea.The two saon remove a tray of fruit, one facing south to the right of the Jeongsa Temple, and one facing north to the left of the adverb.

The manufacturer stands facing north on the right side of the king with a tray of fruit, and when the king takes a cup of tea and removes it, he follows the tea and sits down and raises it to the king, the king rises up from the chair, stands up a little, and stands up a little, and the Sashindo stands up a little, and stands a little forward. The king takes a cup of tea and goes to Jeongsa Temple and hands the tea. A political affairs officer receives a bell and gives it to a Tong temporarily. The manufacturer takes the tea with a teacup again and hands it to the vice president.When an adverb receives a teacup, he retreats a little bit, and the manufacturer picks up the tea with the cup and puts it on the official, and Jeong-sa holds the teacup and goes out to the king and raises the tea. At this time, the manufacturing industry moves westward and kneels north.

When the king holds the teacup, the Tong puts the teacup on the Zheng and the King sits on the chair and drinks tea. He goes before the king of the making and knelt down, receives a cup of tea, and leaves it on a tea tray. For the removal of the Monk stands and puts fruit on the envoy, and the Emperor kneels down and puts the king's fruit on the table. When I'm done, I'll take the tray out.

The tools used in royal tea ceremonies include 湯罐 (a kettle for boiling tea), 茶罐 (a kettle for brewing tea), 茶罐 (a bowl for cooling water), tea cups, cup stands, , (a bowl for cooling water), teaspoons, tea pots, tea towels, tea bottles, and water pumps.

On December 20, 2001 been recognition of activity as holder of the gimuijeong.

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

The charcoal work of Gwangnyeosan Mountain is a collection of the charcoal work of Aehwan, which was sung during the process of producing charcoal. Therefore, the sequence of development of the song shows the process of producing charcoal.

The period of producing charcoal is quite long. Therefore, the sound of charcoal work is mixed with songs of each genre. A ritual song was sung when performing a ritual, a play song when resting, and a labor song when working. Therefore, the song was sung individually when the participants worked together and individually when they were working together, and the most prominent characteristic of charcoal Ilsori is that the various styles of singing and various genres coexist together.

Gyubang Darye is a restoration and succession of traditional Korean tea culture, and the restoration and establishment of tea culture and etiquette in everyday life in Incheon.

Since Lee Gwi-rye, a skilled craftsman, learned tea etiquette from her grandfather who had been involved in the Donghak Movement since childhood in 1973, she received the lifestyle and form from Yoo Seung-guk, a professor at Sungkyunkwan University, and the Jeonju Yi Clan's Incheon Support Center.

In 1974, Dagyeong, Dasin, Dongdasong, and Gukjo Orye were studied in various literature and traditional Buddhist temples. In 1978, the Korean Tea Association and the Korea Tea Culture Association in 1980, the tea ceremony were restored and developed and distributed.

Nongak is the music played by farmers when they squeeze their dure and play percussion instruments such as kkwaenggwari, Jing, Janggu, and drum.

Haman Hwacheon Nongak, a type of nongak in Gyeongsangnam-do, was originated from the villagers who selected the large tree in front of the village as the sacred tree and held a ritual on the first day of the year on the eve of September and the first day of the Sangwol, praying for peace and a good harvest in the village, and playing nongak.

Nongak marched in one line to the rhythm of Sangsoe and danced in three circles to the round Gilgut and Salpugiak, while Yeongsan Da-Dragongigut and Gutmadang played by Yeongsan Dada-Dragongigut and Jangdokgigut played by Yeongsan Daryeonggi, which were played in three circles according to the rounding Gilgut and Salpugiak.Jangdan Nori Gut (Jangdan Nori Gut) is frequently performed in the order of wishing for a good harvest.

Currently, Bae Byeong-ho and Park Cheol are recognized as the owners of Haman Hwacheon Nongak, and they are striving to succeed in the war.

Wando jangjwidangje and Danggut are performed at the time of the first full moon of the year. There are two village guardian deities, one on an island called Jangdo, 300 meters away from the village, and the other on the village's owner tree street.

Inside the shrine house, General Songjing, General Jeongyeon on the right, and Ambassador Hyeil on the left, and Jang Bo-go have been added to the list since 1982.

The procedures of the day are as follows. After setting up the ancestral rites, the incense is burned and the prayer is read by God. Next, put up the glass three times, and in the sense of emptying it in front of the Divine Spirit, cut a thin piece of paper, light it, and fly it into the air. The priests share the liquor used for the memorial service. The food used for the memorial service is scattered around, fed to miscellaneous spirits, and then removed the statue.

When the ritual is over, Gutpae hits Naldangsan Mountain and leaves the island and returns to the village. If you play Samgut on the island, the owner's gut on the owner's tree street, and go to the Dangju house and play the exorcism, the party festival ends.

Currently, Kim Bong-do is recognized as a holder of entertainment in Jangjwa-ri Dangje and Danggut in Wando.

"Samsulyanggut" is a folk drama that is rarely seen as a form of a mixed-work drama, which is performed as a religious ritual and a play as a play, as well as a Chibyeonggut.

Park Kyung-ja, the holder of traditional exorcism, has unique characteristics not only in the tradition and history of hereditary military service, but also in the locality and entertainment of the rite.

Yongho nori is a folk game played around Muan, Miryang-si, Gyeongsangnam-do for three days around the fifteenth day of the first lunar month.

It is believed to have originated from the game of tug-of-war, but the origin and origin of the game are unknown. The ridge behind Muan Village is like the Jwakcheongryong and Ubaekho, so the eastern part of the village was divided into Yong Village and the western part into Beom Village.

Yongho Nori consists of a total of six madangs, including Jisinbapgi, Nolimmadang, Boulmadang, Fighting Madang, and Yeollim Madang.

On the 14th, the day before the fifteenth day of the fifteenth day of the fifteenth day of the lunar month, the first yard was used to drive away evil spirits and pray for good fortune.

On the morning of the fifteenth of lunar January, the second yard is called Nolim Madang, and visits the other village, teasing the villagers with teasing words, and returning after looking around the other person's preparations.

The third madang is the Bourm Madang, which is to be heated up before the battle, and each other's mind is raised. Above the head of the rope, the captain holds Young-gi, and each opponent's dragon and tiger's favorite Geum-yang and Shin Eui-ju come together.

The fourth courtyard is called the Pilmadang, which is one of the classical rituals, and the dragons and tigers of both sides stand up and bow their heads three or four times to the heavens.

In the fifth yard, when Geumyang and Shin Eui-ju, who were fighting each other for a chance, go up to the opponent's head and take the flagpole held by the captain and return to its original position, the game ends.

The sixth yard is led by the winning team with an open yard, with both sides in line and playing a game in tune with Nongak.

Yongho Nori is a folk game that has been handed down for hundreds of years and shows bravery better than other folk games, and contains a sense of agriculture to pray for peace and good harvest in the village.

The Senate refers to the game played on the fifteenth of lunar January as Sangwon Nori. Legend has it that the village became peaceful when the village people built a shrine house and held ancestral rites on the fifteenth of lunar January due to the frequent occurrence of bad things in the village.

If you divide Sangwon Nori of Beopheung into three yards, you will hold a ritual for village and family peace and good harvests in the first yard, and visit each house to perform Jisinbapgi. The second yard is an amusement park where people play yut nori, Neolttwigi, and kite-flying, and bridge-walking with the belief that they will not get sick on their legs. In the backyard, they burn the moon house while greeting the moon, hoping that all the disasters in the village will be burned down and new blessings will come. People who were angry sometimes hang their clothes on the moon house and burn them. When all the yards are over, the villagers hang out together to open an exciting playground.

The Sangwon Nori of Beopheung has been connected to a game where all villagers gather in front of the Dangsan Tree to pray for the peace and prosperity of the village and its family, and it is characterized by the harmony of dance and song.

Namdo has developed recipes for various foods based on various agricultural and fishery products. In particular, food suitable for the characteristics of various rituals that people go through in their lives was determined and passed down to women.

Choe Yeong-ja passed down the functions of ritual food from Yi Yeon-chae's family and formed the Namdo ritual Research Association. It also has a variety of cooking techniques ranging from waste bags, ritual foods, eumcheongs, early fruits, storage dishes, Korean traditional sweets, medicinal herbs, rice cakes, and traditional liquor.

Yi Ae-seop learned about his mother's cooking skills when he was young, and entered the Ulsan Kim clan, a famous family in Honam area, to display his skills in wedding food, and in bedclothes. Lee Ae-seop has exquisite skills in traditional waste bag and ibaji dishes among ritual foods in Namdo. Cultural assets of Gwangju (2010)