☆Hapyeong-ri is a traditional folk village where the Hapyeong Nongak Band, a branch of Gangneung Nongak, is organized and active, and Hapyeong Dapgyo Nori is an event where residents walk on the bridge every year on the day of the second lunar month (February 6) to pray for good harvest and well-being.

Jomsang-nal(day) is the day when the crops were expected only by the distance of the moon and Jomsaengi-byul (a small group of stars called "Polyates" among the 28 constellations of the Heavenly Empire).

In Hapyeong-ri, people held a feast on the day of the first day, and made a torch, and when it was dark, they went all the way to the Sacheonjin-ri Bridge and played a game of stealing the bridge.

On the bridge, a village adult becomes a charter, holds a memorial service to pray for a good harvest in the sky, returns with a torch, burns all the torches in the yard, and holds a drinking party and a playground late into the night, pledging a strong start to the year.

☆Chill is an sap of the poison ivy family, and is a material for applying lacquer to various crafts. Of the various types of lacquer, refining refers to a secondary processing process that is used as an adhesive of various colored pigments.

The paint contains lacquer from lacquer and yellow paint from yellow-green trees. Depending on the manufacturing process and mixing materials and the manufacturing process, the raw paint is produced in the primary process, and the stagnant paint is completed in the secondary process. Therefore, it is divided into a ripe lacquer-in-a-glaze refined lacquer, obtained by removing moisture after cutting open raw lacquer and lacquer tree.

Chil Jeongje is a technique that forms the basis of Korea's najeon(mother-of-pearl) and Chil crafts, and is performed in the Wonju area in a traditional way. Park Won-dong, a functional holder of Chiljeongje-jang, joined Wonju Chil Craft Co., Ltd. from 1964 and worked for a long time in the Chiljeongje field, contributing to the development of Wonju lacquer industry. In the meantime, the original lacquer tablets centered on Chiaksan Mountain in Wonju have been protected, and his refining skills are excellent, so the traditional techniques of Wonju lacquer are being preserved and handed down.

☆Since prehistoric times, lacquer has been widely used in Korea, China, and Japan as natural paint. The lacquer is characterized by its long-lasting use and harmless to the human body by compensating for cracks and burst defects when applied to wood tools and preventing water ingress.

The process of making lacquer crafts can be divided into the process of painting and the process of attaching and finishing the lacquerware, which refers to craftsmen who mainly work on lacquer to produce clean surfaces.

A beautiful and solid painting not only makes it a great artifact by itself, but also enables the use of decorative techniques such as najeon and painting.

From 1979 to 1987, Kim Sang-soo was awarded the certificate for cultural property repair in 1999 after being taught by the late Kim Tae-hee, the 10th Important Intangible Cultural Property, and won the grand prize at the Korea Chil Crafts Competition in 2001.

Since prehistoric times, lacquer has been widely used in Korea, China, and Japan as natural paint. The lacquer is characterized by its long-lasting use and harmless to the human body by compensating for cracks and burst defects when applied to wood tools and preventing water ingress.

Najeon lacquerware 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.

Park Gwi-rae was awarded the Silver Prize in the field of Najeon Chilgi at the National Skills Competition in 1998 and won the gold prize at the 26th Korea Victory Crafts Competition in 2001 after receiving a master's degree from Lee Hyung-man (Important Intangible Cultural Property No. 10 Najeonjang) in 1977.

As the value and importance of craft culture have been highlighted as daily crafts with universal use and area along with long agricultural life, ultra-high-rise crafts were designated as intangible cultural assets for the preservation of the functions of ultra-high-rise crafts, which are in danger of being cut off by industrialization, due to the need for a leading role in the development of this field.



In addition, Yang Jung-gyu was recognized as a holder of super-high-rise functions, which had excellent functions to produce a wide range of living and finished products using traditional techniques for the preservation and transmission of ultra-high-rise crafts.

It is said that hawk hunting, which was handed down as a custom in Manchuria during the Gojoseon Period, has been popular since the Three Kingdoms Period. In particular, during the Goryeo Dynasty, the government had a government office called Eungbang, which was dedicated to the hunting of hawks, and during the Joseon Dynasty, the government expanded it to provide internal responses. During the Japanese Colonial Period, it was banned because it was a unique custom of Joseon, but it was revived after liberation, but it has almost disappeared.

The area of Baegun-myeon, Jinan-gun, has many flying animals and is a plateau area, so when it snows a lot, pheasants that feed on hawks came near the village, so hawk hunting has been prevalent for a long time.

Now, Jeon Yeong-tae, a native of Baegun-myeon, has learned the traditional techniques of hawking and maintains his reputation as a traditional hawker.

Main growth refers to a craftsman with casting technology who melts iron into a mold to make the desired items. To precisely clone and restore artifacts, wax casting is used to create shapes using wax (beehives), which is a representative technique of bronze casting 2400 years ago.

Yi Wan-gyu, the owner of the main growth cripple, started his bronze casting job in the 1970s at the workshop of Oh Hae-ik, the master of metal craftsmanship. He has been working hard to produce various Buddhist items used in front of the Buddha, such as a candlesticks and incense burners, which belong to the realm of Buddhist art, and has become one of the best in related fields.

Meanwhile, he reenacted the Danusemungyeong (National Treasure No. 141), the Seven Wonders of Korea, by developing bronze techniques and studying traditional techniques, and after repeated research, he reproduced the non-wave-type bronze daggers (Joseon Sword) and Danusemung, followed by the trumpet-shaped motives, shield-shaped motives, and Ganduryeong. As a result, he won the Prime Minister's Award at the 32nd Korea Victory Crafts Competition in 2007.

Casting technology, which is a major technology of Korean metal craft, developed with Buddhist culture, is characterized by its elaborate detailed decoration and magnificent sound, and the traditional model casting technique is a wax casting technique. First, make a model of a species with wax and apply a certain thickness of castings made by mixing talc and clay on top of it, and then dry them in the shade. Then, the wax inside is melted by heat, and iron water is poured into an empty space that combines the appearance and the inner shape of the wax removed from which the wax has been removed. The body is divided into two parts, the upper and lower parts, and the lower parts are divided into eight parts.

There are four Yuduksang in the gyeondae and four in the Yuduksu. The oil slick, nipple, and bujeon, which act as a ring, are separately made and attached. It then makes molds by pouring plaster and produces outer and inner molds with castings.

The Korean bells have an elegant and stable appearance, with delicate and lively sculptures carved, and have a clear and subtle sound. Therefore, it is considered one of the most representative metal crafts in Korea and is considered to be superior to any other species in the world.

Chung Dong-hoo, the owner of the company, is the main growth engine that produces such Korean models with casting technology. When he was 18 years old, he learned to work under the late father-in-law of Shin Sang-moo, and after he became independent, he produced masterpieces of his name tags such as Bongeunsa Temple in Samseong-dong, Yongmunsa Temple in Yecheon, and Gwaneumsa Temple in Nonsan. One of the representative works is "The Bell of Peace," which hangs in Taegosa Temple in Los Angeles.

This is a famous liquor made by descendants of Hwang Jang-soo, who lived together in Sangdae-ri, Sanbuk-myeon, Mungyeong-si, and used it to serve guests.

About 200 years ago, Jangsu Hwangs all started making more fragrant and delicious liquor because of their ample family life and luxury.

Among them, Hwang Ui-min, a poet who enjoys poetry, named "Hosanchun" after his own poem, "Hosan," and "Chun," which symbolizes the spring color that makes people feel the smell when drunk.

Hosan Chun is soaked in rice, glutinous rice, grain, pine needles, and water, and it takes about 30 days for the liquor to be completed. This liquor is very fragrant and slightly salty, and the unique thing is that even if you make it in the same way as the same raw material, it doesn't taste good if you make it outside of Sangdae-ri, Sanbuk-myeon.

It is said that the water from Daeha Village in Sanbuk-myeon must be raised between 0:00 a.m. and 4:00 a.m. to boil and cool to make alcohol, which is a characteristic of Hosanchun along with its scent and taste.

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.

Busan Ancient Tombs Dori Gulip was a geollip that was performed in the ancient area of Gobundori, Seodaesin-dong, Seo-gu, Busan, and was called Geolipgut because it received a little rice or money in return for wishing good fortune by visiting Gagahho Lake in the hope that there would be only good things at the beginning of the year.

Busan Ancient Tombs-ri Gulip is a traditional folk religion with a history of more than 150 years, considering that the rite was held in Dangsan, Sijaksan Mountain, a village guardian mountain of Daesin-dong, which was built around 1860.

Busan Gobundori Gulip consists of a total of 37 people, including jisu, Aksa, and Japsaek. First of all, Goha in Dangsan, visit each family to perform a well-being ritual, and then perform a ritual to pray for a good fish, and then perform a dance performance at the Pangutpan.

Busan Gobundori Gulip is distinct from other geolip Nori, such as the detailed composition of the Sungjupuri editorial, the insertion of Yongwanggut section chief, and the musical diversity of Buckunnori and Yeonhee among Seollnori. In addition, the musical composition and editorial composition of Yu Sam-ryong, Lee Myeong-cheol, and Jeong Sang-ryeol, who were the best pungmul jabs of the time, are outstanding. It is considered to be a traditional folk who actually perform geolip on the first day of the year in Seo-gu, Busan, and has sufficient folk and cultural value.

The sound of a joke that is currently being handed down is a restoration of what was taken by Park Chun-jae (1883-1950) in the early 20th century. It is the current joke that the tradition of Korean jokes, which led to the arrest of Woo-hee from the 14th and 15th centuries and the arrest of the municipal government from the 18th to 19th centuries, has permeated Park Chun-jae's jokes and "Bal Tal" since the 1910s.

With these circumstances in mind, the current tradition of jadamsori is deeply historical. However, the tradition had been cut off for a while. The current jesting sound is based on the restoration of Baek Young-chun in 1998.

17 March 2008 baegyeongchun the holder, come served as recognition honor became a holder on April 17, 2014. 2017 on Nov. 16, choeyeongsuk been held recognition as an activity.

※ For detailed information on the above cultural assets, please refer to the Seoul Metropolitan Government Department of Historical and Cultural Heritage (202-2133-2616).

Jo So-nyeo was born in Onyang, Chungcheongnam-do in 1944 and entered Pansori under renowned singer Park Cho-wol. After that, he learned pansori from Hong Jeong-taek, drew Simcheongga from Lee Il-ju, and learned Chunhyangga from Oh Jung-sook.

Chunhyangga is believed to have been created in the folktales and musical traditions scattered around North Jeolla Province, as shown by its geographical background in Namwon.

Jo So-nyeo's Chunhyangga is a continuation of Kim Yeon-soo's Chunhyangga, which was recreated by combining traditional Chunhyangga. Cho So-nyeo held a full vocal presentation of Simcheongga in 1985.

Born in 1944, Sung Joon-sook entered Pansori by learning the Sugungga from the master singer Im Bul-i. After that, I learned Chunhyangga and Simcheongga from Ju Gwang-deok, Yi Il-ju, and Oh Jeong-suk.

Sung Joon-sook succeeded Kim Yeon-soo's "Jeokbyeokga," which was a re-creation of the "Jeokbyeokga" of the Dongpyeonje, Yoo Seong-jun.

Since 1987, Heungbo has held a full singing presentation at Jeokbyeokga, Sugungga, and won the grand prize at the Pansori Festival in Namwon in 1985 and at the Pansori Master Singing Contest in 1986 and the Jeollabuk-do Cultural Award in 1991.

Nongak is the music played by farmers when they work with Du-re (an organization for community work) and refers to the music played by percussion instruments such as kkwa-ri, Jing-gu, Janggu, and drum.

Jeongeup Nongak is a nongak that has been handed down from village to village and has improved its artistic level as it is combined with the outstanding entertainment of the hereditary dance group. In addition, in the 1920s, the local folk religion, Bocheongyo, adopted nongak as religious music, bringing together and integrating outstanding nongak performers, once again improving its artistic level. Since then, Jeongeup Nongak has had a great influence on Nongak not only in North Jeolla Province but also throughout the country.

Currently, Jeongeup Nongak is recognized as a holder of entertainment by Yoo Ji-hwa and Kim Jong-soo.