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.☆

The Dano Festival held in Jain-myeon, Gyeongsan-si, Gyeongsangbuk-do is said to originate from a legend handed down in the village. During the Silla and Goryeo Periods, Japanese pirates frequently invaded coastal areas. A military general disguised himself as a woman and danced with his sister and clowns to entice the pirates, thereby winning a victory against the invaders. After his death, villagers built a shrine for him and held a sacrificial rite there on Dano (May 5 on the lunar calendar).

During Gyeongsan Jain Danoje, villagers gather together in the square in the center of the market and hold a masquerade parade toward the tomb of the general. Standing right in the front is the bearer of a flag indicating the five directions, followed by one bearing a farm flag, and one carrying a tall (3m high) decorative crown. These are followed by dancing men, Higwangi (a character), a man disguised as a woman, military slaves, officers, cannon troops, gisaeng (female entertainers), troops, petty officials, a wide sun screen, the military commander, and the commander’s lieutenants. The paraders go around the tomb and return to the village square, while officiants hold a sacrificial rite at the tomb.

The masquerade parade is a feature that distinguishes Gyeongsan Jain Danoje from other folk festivals. The dance movements are also unique. Lying at the heart of the festival is people’s deep-rooted respect for a person who protected their village. Ÿ

Change in the name of the event (General Han Play → Gyeongsan Jain Danoje in March 2007)☆

Sanjo refers to the playing of a solo instrument to the accompaniment of a janggo (hourglass-shaped drum), moving from a slow to a fast rhythm, in four to six movements. Daegeum Sanjo is an instrumental folk music played solo on the daegeum (bamboo flute).

Daegeum Sanjo is said to have been created by Park Jong-gi in the early 20th Century. Its musical features are embellishments designed to add rhythm and tempo to melodies, nongeum (embellishment sounds improvised by the performer), teul (forms), and extemporaneousness.

Daegeum Sanjo has been handed down with its unique features intact. A skilled performance based on arrangements that aim to make it easier to listen to has the power to render both tension and joyousness.☆

Suryukjae (Water and Land Ceremony), a ritual in which all the spirits of beings from both land and water are guided to the peaceful other world, was first performed during the early Joseon period. This ancient Buddhist rite has great historical and cultural significance and aesthetic merit, as confirmed by its appearance in numerous ancient texts, including Joseon wangjo sillok (Annals of the Joseon Dynasty). The rite is performed night and day for the peace of all the living and the dead, whereas the Yeongsanjae (Celebration of Buddha's Sermon on Vulture Peak Mountain) was usually performed for the peace of individual beings.

A ritual ceremony called Araennyeok Suryukjae, currently preserved by Buddhists in the Gyeongsangnam-do area, is characterized by its wonderful integration of Buddhist ceremonial music and solemn ritual proceedings.☆

People in Bukcheong, Hamgyeongnam-do (in North Korea) engaged in a folk play, wearing lion masks on the night of the full moon of January 15 on the lunar calendar thinking that a lion, a powerful animal, could drive away evil spirits for them. Lion-masked people from neighboring villages gathered together and competed with one another. Since the team from Toseong-ri, Cheonghae-myeon, Bukcheong-gun did better than the others, the play gradually disappeared in the other villages. The mask play had come to secure its rightful place among Koreans since the Three Kingdoms Period. Those from the North continued to play it, mostly in Seoul.

The mask play was started with young people carrying torches on the night of January 14 and was continued until the daybreak of the following morning. On January 16, they would pay visits to the houses of well-to-do people as prearranged. Upon entering the property, they would go around the courtyard in a line and start dancing. Then, a lion-masked person would join them. The “lion” would go into the inner room and the kitchen and make a gesture of eating someone alive. Then, the lion would return to the courtyard and engage in a lively dance. The lion would make a big bow to the deities kept in the house as requested by the owner of the house. When the lion would pretend to fall down exhausted, people would call an eminent monk to energize it by reciting a phrase of Buddhist scripture or have an herbal doctor apply acupuncture. Upon regaining strength, the lion would dance again with all the others. Participants included those acting as yangban (noblemen), a freakishly tall person, a humpback, a petty local government official, a dancing boy, a dancing woman, a monk, an herbal doctor, a scholar, etc. The dancing boy, the dancing woman, the monk, the herbal doctor, and the scholar appeared without wearing a mask. The musical instruments used were tungso (six-holed vertical bamboo flute), buk (drum), jing (large gongs), and janggo (hourglass-shaped drum). A mask dance performed in Bukcheong often uses tungso as a main instrument while samhyeon yukgak (three strings and six wind instruments) is used in Gyeonggi-do and kkwaenggwari (small gong) in Gyeongsang-do. The owners of the house would have their children ride on the back of the lion based on the belief that it would make them live longer. Money or grains donated by the houses visited by the troupe were used as scholarship fund for children from needy families and to subsidize expenses for senior citizen associations and cover the expenses for the lion play.

Bukcheong Saja Noreum is focused on merrymaking, featuring movements more powerful than other lion dances.

Myeongju (silk), which is woven from thread made from cocoons, is plain fabric without woven patterns. There are a wide range of silk fabrics, depending on the types of threads, weaving methods, and patterns used.

Records about the country’s sericulture appear as early as the Gojoseon Period (2333 BC? – 108 BC). Fabrics made with exquisite skills in Silla (57 BC – AD 935) were traded with goods made in Tang Dynasty China. During the Goryeo Period (877 – 1394), good-quality silk fabrics were produced. In the Joseon Period (1392 –1910), so many types of fabrics were made that names were attached to them according to their colors and quality.

Silks were produced in large quantities and they latercame to be used as materials for making ordinary cloth. In olden days, silk was woven by housewives on a loom to meet their household needs. Toward the late Joseon Period, looms were replaced by modern weaving machines.

"Traditional fishing is a traditional fishing culture in fishing villages, which refers to fishing gear or fishing methods that catch fish that flock to the coast during the ebb tide by hitting bamboo feet or stacking stones.

"Eo-sal" has a very long history, as it can be found in the records of the Goryeo period such as "The History of the Three Kingdoms" and "The History of Goryeo." After the 16th and 17th centuries, due to the natural conditions of coastal areas and the growing demand for seafood due to the development of commerce in the late Joseon Dynasty, the transformation of 'arrow fish' was made, resulting in the emergence of Jubuk on the west coast, Bangryum on the south coast, and Jangsal on the west coast. As such, 'arrow fish' has been an important part of the various traditional fishing methods that have been handed down in Korea.

As shown in the "fish fishing" in Kim Hong-do (Treasure No. 527) of Kim Hong-do (1745-1806 or later), "Eo Sal" represented coastal fishing until the Joseon Dynasty. However, with the development of fishing industry in the coastal waters after the 1970s, the traditional fishing methods, including 'arrow', began to decline relatively. One of the most common examples of Assal, which has been handed down so far, is anchovy fishing using bamboo sticks installed in the Jijok Strait in Namhae-gun and Mado and Jeodo Island in Sacheon-si.

"Traditional fishing methods - fish flesh" are designated as national cultural properties in various aspects, including an understanding of nature and ecological environment, a combination of fish habits, the experienced knowledge of fishermen catching fish by looking at season and water, an important role in studying fishing culture, fishermen's fishing history, people's life history, and the fact that "fish flesh" continues to evolve into various forms of "net flesh."

However, the 'traditional fishing method – fish slaughter' was designated as the Korean fishermen's empirical knowledge system and was a lifestyle and culture widely inherited in fishing villages rather than limited to certain areas.

Records of Buddhist lantern festivals can be found in materials dating back to the 9th century, i.e., during the Unified Silla Period. The custom of holding lotus lantern festivals continued throughout the Goryeo and Joseon eras.

The lotus lantern festivals of Silla and Goryeo were primarily a Buddhist event; during the Joseon Dynasty, however, the festival became more of a folk event. During the Japanese Colonial Period, a parade of lanterns was included in the festivities. The lantern festivals feature a Buddhist memorial service in the form of a lantern parade, for which a great variety of lanterns are produced. After the introduction of Buddhism to Korea, lantern festivals became important cultural events for both royalty and commoners over the period spanning Unified Silla and Goryeo to Joseon.

Throughout Korea’s history, Goryeo lotus lantern festivals had an important social function; even during the Joseon Dynasty when Confucianism was the dominant religion, lotus lantern festivals were important cultural events for the common people, a tradition that has been maintained to the present day. It is currently under preparation.

When mogabi (leader of a group of singers) leads with his part of the song, the others follow him with their part of the song, playing the sogo (small drums) and making gestures with their hands and feet. The name Santaryeong (Folk Song of the Mountain) was attached, since the lyrics are associated with natural scenery. It starts with slow rhythms but becomes faster gradually.

Today, the folk song is sung by males, but it originally stemmed from the female songs of sadangpae (itinerant performance troupe) composed of monks and Buddhist followers, who sang choruses of a prayer to Buddha and received contributions from people in return. With the decline of Buddhism during the Joseon Period, the members of the wandering troupes were replaced with males. Their prayer to Buddha was replaced with Seonsori Taryeong (songs performed in a standing position) sung by ordinary people. Seonsori Santaryeong was divided into a version of Seodo (referring to Hwanghae-do and Pyeongan-do) and a version of Gyeonggi. The latter portrays the natural scenery of places close to Seoul with singers playing sogo, whereas the former sings about the natural scenery of Pyeongyang joyfully with a fast tempo with singers making gestures and waving handkerchiefs.

This piece of folk song is a precious material for those studying the music of sadangpae. It is the most joyful, gallant, and liveliest piece among the country’s traditional music pieces.

Since Korea does not have a salt producing area, salt is produced from ancient times to the present using seawater as the raw material. Records of producing salt can be found from the Goryeo Dynasty, and the Cheonil Salt Farm, which has continued to date, was introduced in 1907 and lasted for more than 100 years. The biggest feature of the mudflats is that they were formed in mudflats, and Korea accounts for 86% of the world's tidal flat natural salt production. In addition, the unique characteristics of Korea can be found in the belief that salt prevents fire and eradicates injustice. In the future, research on salt production methods and working structure will greatly contribute to the academic research on fishing village culture and the ecology of mudflats in Korea. In addition, the mudflat salt field on the west coast creates a unique landscape along with the fall tide.

※ Since decontamination is not a traditional knowledge or technique that is passed down only to a specific region, it is not recognized as a holder or organization and is designated as a sport only.

Based on the fact that the ondol culture of the Korean Peninsula originated from the primitive form of heating system, which was installed in the Wonsamuk Dynasty through the Bronze Age, and that the ondol culture of the Korean Peninsula was discovered throughout the Korean Peninsula from the 3rd to 1st centuries B.C., it is estimated that the ondol culture of the Korean Peninsula was inherited for more than 2,000 years.Unlike a Western fireplace, our ondol has the advantage of being able to heat the room for a long time without generating smoke, as it is characterized by a fire-retardant floor heating that sits on top of the fire, rather than sending smoke directly to a high chimney.

Ondol culture is Korea's overall residential culture, which includes not only floor heating and eco-environment utilization technologies, but also Korean living customs and norms. This lifestyle was popularized as an "ondol room" culture representing Korea, affecting not only housing, interior architecture, and furniture, but also popular culture.

Marubang in response to the climate environment in summer and Ondolbang in winter are representative residential elements of Korea. Currently, Ondolbang is a unique residential technology and cultural heritage of the Korean people, which are distinct from the floor heating methods in China and Manchuria. And while the Ondol culture undergoes technological development, changes in the formality of major residential spaces, and changes in lifestyle, the original floor heating method continues.

As such, ondol culture has been inherited and continuously recreated for a long time and has a socio-cultural value that has influenced Korean society's main life and popular culture, and it is worth being a national intangible cultural asset in that it is a culture that has wisely adapted to and dealt with the harsh climate conditions facing the Korean Peninsula.

※ ※ Ondol culture has long been shared and customary among Koreans throughout the Korean Peninsula, so it does not recognize the holder or the group it owns and only designates it as an event.

Before the Buddhist Order is enshrined inside the pagoda, the Buddhist statue or Buddhist painting is enshrined in the pagoda, spspan class='xml2' onmouseover='up2 (1756)'onmouseout='dn2('dn2') wood related to Buddhism, such as sarira and five grains. Through this ritual, religious values are given to Buddha and Buddhist paintings of secular values and converted into objects of worship. <br />bbbr /> Since the Goryeo Dynasty, it has a tradition of more than 700 years and has a ritual of <span class='xml2' onmouseover='up2 (4532)'onmouseout='dn2()'dn2()'ass</span==spspsp<spspspspsp<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< "The Ancestral Sutra" was also highly regarded for its scriptures only in Korea, for its various, complex and systematic establishment of procedures and ritual elements, and for each detail, ideological and doctrinal meaning. <br /><br /><br /><br />* <span class='xml2' onmouseover='up2(4419)' onmouseout='dn2()'>작법(作法)</span>: 수륙재나 영산재 등에서 행하는 작법무(作法舞)와 같이 몸짓

Wanchojang refers to an artisan with the skill of making objects with sedge (Cyperus exaltatus, wanggol in Korean), which is an annual/biennial plant that grows in a wet rice paddy or swamp. It grows to a height of 60 – 200cm. Sedge is used to make mats, seat cushions, and baskets.

According to Samguk sagi (History of the Three Kingdoms), sedge was used during the Silla Period (circa 57 BC – 935 AD). During the Goryeo Period (877 – 1394), a sedge mat was laid on the place where the deities of the State are enshrined. Sedge mats were used chiefly in royal palaces, and they were also sent to China as gifts. During the Joseon Period (1392 – 1910), sedge mats were used mostly in royal palaces or in the homes of upper class people. In foreign trade, the mats made in Korea were regarded as luxury goods.

Sedge products are made either manually or with tools. Mats and cushions are made either with a coarse weaving technique with warps exposed or with a close weaving technique with warps not exposed. As for the manual weaving method, eight warps are entwined to form a “井” shape and then two wefts are woven into it to make round or octagonal cushions and baskets.

Production of sedge goods once went through the doldrums, but it regained strength in the 1970s and thereafter. Up to now, sedge has been used chiefly to make mats and baskets, but it can be used to make many other objects without the need for special tools by adjusting the colors and the thickness of warps and wefts.

Seoul Saenamgut was performed for the upper classes in Seoul to console the spirits of the dead and pray for their peaceful life in heaven. It is presumed that this rite was first performed during the Joseon Period (1392 –1910) and took on a more developed form during the 17th and 18th Centuries.

The rite is composed of Andang Sagyeong Maji (spending time from 1:00 a.m. to 3:00 a.m. in the courtyard) and Saenamgut, which is performed from the following morning by five female exorcists and six dancers to the accompaniment of janggo (hourglass-shaped drum), buk (drums), daegeum (bamboo flute), piri (flute) and other instruments.

Seoul Saenamgut has features that cannot be found in the other exorcism rites. It displays elaborate composition and looks gorgeous. It includes both Buddhist and Confucian elements as well as contents relating to the royal court of the Joseon Period.

Haenyeo is a living witness representing Korea's traditional marine culture and women's fishing culture. Beyond the changing times, haenyeo have created a community culture, and in the livelihood and culture of haenyeo, various wisdom can be found about the coexistence of nature and human beings and the continued use and distribution of common lands.

The records of haenyeo have a long history, as shown in the 17th-century records related to Jeju Island, and the 'material' of haenyeo is a primitive form of language that is not found elsewhere. In addition, the folk knowledge of the ecological environment accumulated from the material experience is considerable, and it forms a unique community life culture of haenyeo, including consideration and collaboration for their fellow haenyeo, and their faith and rituals.

As such, the culture related to haenyeo was designated as a national intangible cultural asset in order to preserve and inherit the cultural heritages, as they were highly valuable in terms of historical, artistic, and uniqueness.



※ List of UNESCO Intangible Cultural Heritage of Humanity in 2016 (Jeju Haenyeo Culture)

※ The culture related to haenyeo is not recognized by certain holders or organizations in that it has a strong community nature through collaboration.