As one of the most popular songs from the late Joseon Dynasty to the early 20th century, it is said to be a song of professional entertainers, such as gisaeng, Sadangpae, and singers, to sing long editorials in technical musical terms, and is used as a concept that distinguishes it from folk songs, which are simple songs of non-professionals.

Whimori japga is a japga, which means driving fast, and is sung standing up. The editorial content of the Janghyeong Sijo is divided into three parts, and it is composed of humorous and interesting speech skills, and although there are many similarities with the private Sijo, it is distinguished between the rhythm and the singing style.

When the singers sang, they often sang a long japga at first, followed by a chorus, and then a whistle japga at the end.

The current Hwimori japga includes Gombo Taryeong, Sanmae Japa, Manhakcheonbong, Yuk Chilwol, Cloudy Day, Hanjan Buira, Byeongjeong Taryeong, Sungum Taryeong, Gisaeng Taryeong, Rock Taryeong, Bidan Taryeong, and Maengkong Taryeong.

As a function of making tteok-sal and multi-deck plates, it is a very important traditional carving technique that is related to life or customs, and is necessary for our daily life in terms of culture or art history.

Kim Gyu-seok is systematically passed down due to his excellent technical skills and academic support by learning wood carving and pattern carving from Lee Ju-cheol, and learning rice cake and multi-plate techniques from Lee Yeon-chae.

☆Daemokjang refers to a carpenter who has traditional Korean wooden architecture, especially traditional woodworking techniques. Their range of activities extends from maintenance, restoration and reconstruction of Hanok(house) or historical wooden buildings such as palaces and temples.

Daemokjang is responsible for the overall process of planning, designing, and constructing buildings, as well as managing and supervising other carpenters. The wooden structures completed by Daemokjang are all elegant, concise, and simple, which is a unique characteristic of traditional Korean architecture.

Traditional Korean construction processes require a aesthetic sense to select, cut, and shape wood to be used as building materials, along with the technical ability to design buildings according to their size, location, and use, and to create so-called 'thousand-year joint' without using nails.

Park Yeong-gon (55, Daemokjang No. 718), a master craftsman of cultural heritage, is designated as an intangible cultural asset and also called Dopyeonsu.

Dopyeonsu refers to a master craftsman's craftsmanship that includes the basic framework of a building, trims timber, and supervises the overall construction, and includes the scenery of life, the fascination of space, and the spirituality of culture.

☆Najeonchil-gi is a craft made from conch, abalone, shellfish, etc. on a lacquer surface, and is a representative artifact of Korean people with a well-coordinated lacquer, which boasts a colorful natural color and a subtle gloss. (Najeon=mother-of-pearl, chilgi=lacquerware)

Gwangju is known as "a three-black town" due to its high production of lacquer, ink and charcoal, and lacquerware and tools have been found in the historic site No. 375 of Sinchang-dong, proving the long history of lacquer crafts.

Kim Ki-bok is a master of the art of making najeon(lacquer making) and aesthetic value. Born in Tongyeong, he has continued to play najeon for more than 50 years since the 16th century. He entered the Najeonchilgi technical School in Tongyeong and received the skills and moved to Gwangju at the age of 19. In particular, he is good at 'dry' technique, which is a technique for drying lacquer.

The Tang painting was a reverent and beautiful portrayal of Buddhist materials and doctrines. It achieved the highest technical completion in the Goryeo Dynasty, which was renowned around the world. During the Joseon Dynasty, it became a popular art.

The Jeolla region has long been known for its as well as monk Yoo Sam-young, a skilled craftsman, has been producing many works in Jeolla-do and Jeju-do for more than 30 years since taking the tanghwa class from Mon Eung. His tangs are subject matter-specific in each category. In particular, the traditional two-line colors and colors are used to maintain the traditional culture faithfully.

He is also a carpenter who is responsible for the supervision of construction as well as the technical design of building and trimming timber in the construction of a house with wood materials. He also refers to a potter who constructs palaces, temples, and military facilities. The head of the ranch is distinguished from the small ranch in charge of small-scale carpentry, such as doors and handrails, and is responsible for the completion of the house by joining forces with the head of the wajang, dejab, Seokjang, Mijang, and Dancheong. Government posts were given during the Unified Silla, Goryeo, and Joseon periods, but today, the art of plowing has been passed down to the construction of temples, seowon, Hyanggyo, and traditional Korean houses.

Because the technique is strictly inherited, the gate is formed.

A gate is a technique in which a family is created, and a burial ground in the gate has absolute authority.

He introduced traditional architectural techniques from his grandfather Shin Seong-jip (1877-1954), his father Shin Hyuk-mook (1921-1968), when he was 19 years old, and engaged in activities for transfer and research. Since 1999, his second son, Shin Tae-seon, has also joined the training program.

Artistic aspects and characteristics include the use of traditional Korean materials, following the traditional wooden building process during the production process, and the use of drying techniques using smoke and flame inherited from one's father during the process of chi-mok. The characteristic of the tree is that each architecture does not have the same motif, creating a creative and decorative expression. In particular, design drawings that are difficult to see in other artisans are being prepared and constructed, and drawings drawn from 20 years ago have been kept. This is different from other artisans who draw professional designs themselves.

Gimun Gate has been codified for generations to carry out active transfer and research activities, and it shows a local tradition to preserve the characteristics of the region and maintain its traditionality. In terms of art, the use of traditional materials, the production process of traditional wooden architecture, the drying technique inherited from the father of the tree process, the representation of the design of different patterns, and the design drawings are directly drawn and constructed.