Onggijang Bae Yo-seop (Residence in Sinnae-dong, Jungnang-gu, 1926) is a four-generation Onggi craftsman who has continued to work as a Hanmi-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Toga (meaning the Bae family that runs beautiful Korean kiln). It was recognized as a holder on September 25, 2002 and became an honorary holder on April 13, 2017.

It is producing 'Puredog', which is baked without glaze or lye, which is classified as a high-quality onggi.

The word "pure" is the pure Korean word for "purple," and poison refers to a large bowl with a pear.

"Pure Dogg" is a bowl made with salt, one of the state-run items, and was used as a Buddhist item for Buddhist temples given to the royal family or royal family in Korea.

Bae Yo-seop's great-great-grandfather, Pyo Dae-gyeom (Francisco), joined the Catholic Church in the Chungcheong-do region, where Catholic faith first spread to Korea in the late Joseon Dynasty, and served as a lay leader in Dangjin, Chungcheong-do.

As many Onggi artisans did, they began to burn onggi in the mountains with their families to avoid the persecution of Catholicism by Heungseon Daewongun.

The martyrdom of Pyo Dong-gyeom (Francisco) in 1800 and his eldest son Bae Cheong-mo (Augustino) in 1829 while transcribing Catholic books led to the production of pottery as a family business by Bae Dae-bong, his third son.

Bae lived in Eumseong, Chungcheong-do, hiding his family's martyrdom, and learned how to make Puredog, the best onggi technique of the time.

Since then, Bae Dae-chun, the son of Bae Dae-bong, has been passed down for three generations, and Bae Bae Bae-seok, the son of Bae Dae-chun, has been handed down for four generations. The baeuiseok Japanese Icheon to the South of France and moderate damage, made a rapid demand after the onggi remote areas to production.

Bae's eldest son, Bae Yo-seop, moved from Icheon to Yeongdeungpo, Seoul, and started his family business as a fifth generation from 1942 with his father Bae Bae-seok at the recommendation of his grandmother.

In 1955, he moved to the Onggi branch in Sinnae-dong, Jungnang-gu, Seoul, and opened a Onggi Onggi restaurant called <Hanmi Yoyup> with his father, and carried out production activities while maintaining its own onggi style, mainly in Seoul and Gyeonggi Province.

When his father died in 1968, when he was 42 years old, he took the initiative in operating the workshop. In the early 1980s, he was able to produce onggi mainly in the era of increased demand for onggi during the Korean War, but in the early 1980s, his second son Bae Yeon-sik and his family business, Puredog, were re-produced.

It went through as many trials and errors as it had not been produced for a while and was designated as an intangible cultural asset of Seoul in recognition of its achievements.

After the relocation of the workshop to Songcheon-ri, Namyangju, Gyeonggi-do in 1992 due to the development of an apartment complex in Sinnae-dong, Jungnang-gu, Seoul, Bae Yo-seop's second son Bae Yeon-sik worked on the Puregi.

'Pure Dogi' means 'Pure' in 'Purple' and 'Pottery', which is completed at a high temperature of 1300 degrees without glaze or lye on the surface using pure yellow soil, and is further developed in materials and plasticization methods than the existing Puredogg.

It was developed as a rural housing complex around the Songcheon-ri workshop in Namyangju, Gyeonggi Province, and moved the workshop to Seosin-myeon, Hwaseong-si, Gyeonggi-do in 2009. Now Bae Yo-seop's second son Bae Yeon-sik runs the Korea-U.S. Yobae City Toga for the sixth generation, while his granddaughter Bae Eun-kyung and Bae Sae-rom, who are in charge of seven family businesses, run the Puregi Institute.

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

Dancheong refers to the act of painting buildings, sculptures, Buddhist paintings, and crafts using pigments. Therefore, the base material is diverse, including stone, clay wall, wood, iron paste, leather, and paper, and dancheong, which is most representative of which is colored by horses or wooden architecture that encompasses the concept of western painting, is painted on subsidiary materials. The role of dancheong is especially important in wooden buildings. It is painted on wood or walls of buildings to prevent other corrosion and dryness in rain, wind, and climate change to increase durability. The patterns of Dancheon vary widely depending on the type of architectural materials and the nature of the building, respectively. Dancheongjang is not just painting buildings or painting patterns, but also producing Buddhist paintings such as tangs that require painting skills.

On September 25, 2003, Yang Yong-ho 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 (202-2133-2616).

Japga means song, which is a traditional song of upper-class culture, song that is not refined compared to sijo, and song of lower-class culture that is miscellaneous or vulgar. This is a term that is different from that of a genre that played a part in Korean pop songs along with Gyeonggi-do, and refers to a japga (subga) created by professional singers such as clowns and Sadangpae in the late Joseon Dynasty.

Originally, Japga was formed and flourished at the end of the Joseon Dynasty, but was relegated to Western-style songs around 1830. Therefore, Japga is a genre of literature that marks the end of the Joseon Dynasty, and it is considered a transitional genre that connects the present and the past.

남도잡가는 <보렴>, <화초사거리>, <육자배기>, <자진육자배기>, <흥타령>, <개구리타령>, <새타령>, <성주풀이> 등을 지칭한다.

Celadon ware refers to a person or technique that makes Goryeo porcelain represented by celadon. Although celadon, which is referred to as Goryeo monument, has been cut off in the course of time, efforts to find Goryeo monument continue. Gangjin and Buan, which are centered around Gwangju, have a reputation for their celadon pieces.

The production process is Zeto and plastic surgery.Go through the process of sculpture, poetry, plasticity, etc. The clay process breaks stones into powder and mixes the soil. In the case of celadon, the coarse and bad clay and white clay are mixed in a ratio of 7:3. After mixing them, they go through a defensive process to remove impurities, and then they build up the clay. After the molding is over, place the crushed soil on a spinning wheel to form an object. After the molding, dry it and carve the pattern with a knife. They then grill the first batch, apply glaze, and then roast the chaebol. When grilled pork belly meat is done, the work is completed. The production equipment includes a spinning wheel, bat, earth gourd, cart, water leather, iron holtae, neckholtae, and electric knife.

Celadon ware was designated as an intangible cultural asset to protect and transfer traditional crafts that express the beauty of Korea. Cho Ki-jung, who lives in Gwangju, continues his career through the establishment of a research institute and a work exhibition.

Gungsijang refers to a person who has the skill and ability to make bows and arrows, who is called a mayor who makes bows and arrows.

In China, it is said that the Korean people have excellent skills in bow making enough to call them Dongyi because they are the people of the east who make good bows and shoot well. Traditional archery has been used since the Three Kingdoms period, and archery has been in the past exam subjects since the early Joseon Dynasty. After the Imjin War (1592), it was used as a weapon of war until the gun was imported. Currently, it is called the national archery to distinguish it from the archery that came from the West.

During the process of making bows, bamboo, mulberry, and water cones are trimmed, while bamboo and mulberry trees are bent over the fire and connected. Cut the bamboo end into V-shape, and the mulberry end is twisted in the opposite shape of V-shape, and glue it in. The core layer, which attaches the water horn to the surface and raises the tendon to the bow, works. After such a process, the drying process (purification control) is carried out for about one month. When the drying process is over, cut the cocoon. At the end of the clipping, adjust the bow's strength according to the bow user's physical strength. The Korean bow is characterized by its use of iron horns and iron core ropes, and its production tools include saws, bamboo hammers, ropes, knives, awls, tongs, wood, combs, and ribs.

The process of making arrows is to select bamboo to be used as a body, dry it sufficiently, and then hold it straight. Work on the onnet and collar for the bow line. The ingredients are bamboo, sari tree, pheasant flag, and folk-fish bush, and the types are wood, iron, ancient, world, and leaf jeon. The arrows used today are leaf jeon made of bamboo.

Gwangyang Gungsijang was designated as an intangible cultural asset to protect and transfer technology as a traditional craft technique. Kim Ki-ki, a functional holder living in Gwangyang, South Jeolla Province, is continuing his career.

Bonghwa Yugi has a long history of over 500 years and is the birthplace of organic manufacturing in Korea, which introduced organic manufacturing techniques to many craftsmen across the country.

In particular, it is said that the organic manufacturing method of Anseong was also introduced from the beacon fire. Until the early 19th century, Bonghwa Yugi's reputation was widely known throughout the country, and it was also called the "Notjumgeori." This was due to the fact that charcoal needed to melt iron was easy to produce and the abundant water in Naeseongcheon Stream was a natural location.

However, in 1919, the ban on deforestation in the Taebaek Mountain area and the change of the times at the end of the Japanese Colonial Period were not won, and only two households are maintaining their old reputation.

In other regions, facilities and tools have been modernized, and the trend of losing their old appearance, but the abandonment of the beacon fire still continues the old techniques of handcrafting.

Bonghwa Yugi has a long history of over 500 years and is the birthplace of organic manufacturing in Korea, which introduced organic manufacturing techniques to many craftsmen across the country.

In particular, it is said that the organic manufacturing method of Anseong was also introduced from the beacon fire. Until the early 19th century, Bonghwa Yugi's reputation was widely known throughout the country, and it was also called the "Notjumgeori." This was due to the fact that charcoal needed to melt iron was easy to produce and the abundant water in Naeseongcheon Stream was a natural location.

However, in 1919, the ban on deforestation in the Taebaek Mountain area and the change of the times at the end of the Japanese Colonial Period were not won, and only two households are maintaining their old reputation.

In other regions, facilities and tools have been modernized, and the trend of losing their old appearance, but the abandonment of the beacon fire still continues the old techniques of handcrafting.

Piljang refers to a person or technique that makes a brush, one of

The quality of the brush is the most important, and it is said that the brush should have four virtues: chum, je, circle, and gun. This means that the brush ends must be sharp and neat, and the top of the hair is well tied with a string, and has strength even if used for a long time, so the brush hairs must rise again after making a stroke.

The materials for fur include sheep, foxes, rabbits, tigers, deer, lice, dogs, horses, pigs, and ferrets, and the brushes are often used for bamboo.

If you look at the production process, you should first straighten out the hair and then roll it up in an appropriate amount. After that, they go through the "Water End View" process, which trims the ends of their fur neatly, and then aligns with bamboo to finish.

In order to protect and transfer technology as a traditional craftsmanship, Kwon Young-jin was recognized as an intangible cultural asset holder on September 30, 1992, and Jeon Sang-gyu and Jung Hae-chang were recognized as holders on January 11, 2018.

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

A shipbuilding yard refers to a craftsman who makes Hansun, a traditional Korean ship. Modern ships refer to ships floating in rivers and seas around Japanese colonial era (1910), including ferries, ferry boats, night boats, and dangdu-ri.

The boats currently being built are mainly Hwangpo sailboat, amusement boat, engine boat, and Mesaeng (net boat and fishing boat). When making a boat, villagers usually work together, with two to three people on a large boat and one to two people on a small boat, depending on the type of boat, they are made over a week to a month. The characteristic of Joseon pear is that the bottom of the boat is wide, flat, and elastic so that it can go up and down the upper stream of the river, which is only knee deep.

Park Jeong-ok, who was designated as the sixth owner of the Seoul Intangible Cultural Property, died on October 6, 1994 and currently has no owner.

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

Hosang Nori, a traditional folk game in Seoul's Gangdong area, is also known as Ssangsangyeo Hosang Nori. Hosang Nori is a playful game if it is a portrait of a person who has a good family life and long life, and it is a game where singers and bier people gather the night before to sing a folk song all night long so that they can safely go on a rough road when they are on the rise.

The Hosang Nori in Rockjeol Village is led by a good singer in front of the bier by 36 biers, which are very large compared to ordinary bier carried by about 10 people. When the bier leaves the house, he sings the trick before carrying the bier, and as he leaves the house, he calls the incense burner to console his soul and honor his achievements and virtues. It is very exciting to see the bier moving forward as if it were pushed back. In the appearance, the coffin was lowered and the deceased built a tomb to build a dwelling where he would live for thousands of years. They sang various virtues and a song called Bangataryeong, which is a unique custom of rockjeol Village.

As Amsa-dong was incorporated into the Seoul Metropolitan Government in the 1960s, Hosang Nori in Rockjeol Village completely disappeared due to the development of Rockjeol Village and the wave of urbanization, but its original form was restored more than 30 years after it was cut off by meaningful people.

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

Saengchil refers to lacquer that produces a gloss by applying sap obtained from lacquer to objects such as wooden bowls. Refine the lacquer or add something else and use it as it is without processing. The lacquer is obtained by taking the sap that flows through the lacquer bark every three days from early spring to autumn. The lacquer collected like this hardens when it comes into contact with the air, so seal it tightly and filter it with ramie or silk cloth.

Remove impurities.

Finish the painting by repeatedly applying lacquer, which has been removed from impurities, over a total of three times, and drying it. The most important thing is that dust should not stick in the process of painting lacquer. If dust is on the work, it should be dried and sanded off and painted again. After this process of painting and drying, rub it with cotton to polish it. One work is completed only after all this process. Some work takes from three months to a year.

Song Bok-nam, who was born in Seoul, began his career in lacquer at the age of 13 at the recommendation of a friend and lived as a raw lacquer plant for more than 70 years. He participated in the opening of the Chilbulsa Buddha statue in Gyeongsangnam-do in 1989 and the lacquer work of Haeinsa Buddhist altar in Hapcheon in 1994 and participated in the lacquer painting for cultural assets, including the opening of Buddhist statues and Buddhist altar in Hapcheon. He also won the 4th lacquer crafts contest (1994) and the 21st Dong-A Daejeon (1993).

Okjangbap refers to a craftsman who processes various kinds of jade and shellfish and works on royal logistics and men's and women's ornaments. As for jade stones and shellfish, Gyeongok, Yeonok, Sanho, Pumpkin, Mano, Sujeong, Gongjakseok, Yuri Jeok,

There are ivory, godmother, calligraphy, black-angle, pearl, and stonghwang.

These jade pagodas have been widely used from the royal court to the general public, including Norigae, tangerine, backrest, hairpin, earring, ring, intestine, dongje, gwanja, seonchu, needle, pungjam, danchu, and string. Royal ornaments were used for royal ornaments such as jade pedestal, jade seal, cotton crown, and pagodaejang. Traditional manufacturing processes go through quarrying → design → cutting → molding → drilling → digging → digging → carving → cutting 질 polishing 질 polishing 광 polishing → polishing → polishing.

In 1970, Kim Yeong-hui, the owner of the school, entered the school as a student of Kim Jae-hwan and practiced techniques. In 1988, he was recognized for his skills through numerous awards including the Grand Prize in the Korean Traditional Crafts Competition, the Special Prize in the Korean Traditional Crafts Competition, and the Minister of Commerce, Industry and Energy of the National Crafts Competition. He was selected as the winner of the state-designated Oksuk Pagakgapgi Crafts.

A total of more than 100 artifacts and reproduction projects have been actively carried out so far, including various exhibitions and activities at home and abroad, including the Baekok Moranmun Memorial Hall (the head of the U.N. headquarters in Korea), the Royal Palace Museum's 60th anniversary of Korea's liberation from Japan's colonial rule (the head of the National Palace Museum).

In addition, the museum opened in 2014 as a first-class museum in Heyri Art Village, Paju, to inform the public of the beauty and excellence of traditional jewelry. In addition, the government is trying to inherit and pass on the skills of the royal jade crafts of the Joseon Dynasty through the Soye region for the study of the Byeokbong Royal Cultural Heritage, and to continue the tradition of Korean royal jade crafts.

A monochromatic object without any decoration on the background gives a neat, neat feeling, but plain and boring. As the crust developed, mankind tried to express something on the background of a plain pattern and attach symbolic meaning to it. Thus, patterns were born, and humans painted or carved patterns or drawings on various materials for decorative and symbolic purposes, and added colors.

It is difficult to paint or color in metal. So, after carving dots, lines, and faces using chisels, the patterns and drawings were expressed by inserting gold and silver threads or plates into the groove. This is an incidental craft 入絲工

Call it, and the craftsman is called a job place.

The incident crafts are delicate and beautiful. Gold and silver are added to the metal base, making it colorful and elegant. It requires a subtle persistence and elegant spirit as it is a work of making grooves in metal and putting pictures in it. Three national treasures, including Chiljido (Japanese National Treasure) made by Baekje and presented it to the king of the Japanese Empire, Bronze Sealed Entrance Soldier (National Treasure No. 92), and four treasures, including Bronze Sealed Entrance Scentwan (Treasure No. 778), are currently designated as national treasures. That's why I joined the company.

They call it 'the purification of metal crafts' and hold them as representative artifacts of Korea.

Yi Gyeong-ja, the holder of the craft, is a disciple of Yi Hak-eung, who was the last employee of the Joseon Dynasty, and continues the tradition of silver Ipsaeng craftsmanship, which he learned from his teacher. From accessories to wall decorations to outdoor space decorations, the company is expanding its horizons by combining traditional and modern metal crafts, and 200 silver-entry artifacts, which have been restored and reproduced with great care, are currently on display at 12 museums across the country.

Gwangmyeong Nongak is a nongak established on the modern basis of Gwangmyeong City, focusing on Cheolsan-dong, Soha-dong, and Hakon-dong under the current geographical conditions. Rice farming, nongak, and dure are closely related to each other, and this tradition of farming is related.

As a result, it becomes the foundation of Gwangmyeong Nongak. In the past, Gwangmyeong City was part of Siheung-gun, Gyeonggi-do. This area is wide and rice paddies are developed.

Gwangmyeong Nongak has the typical characteristics of Udari Nongak, so the characteristics of the rhythm and the engraving reflect the characteristics of Nongak in the Chungcheong area of Gyeonggi Province. The starting point may have originally originated from native nongak, but the current Gwangmyeong nongak cannot be denied that there are strong traces of tae nori nongak. The unique characteristics and identity of Yeonhui Nongak should be found in the book, as it is borrowed from the contents of the book and its specific name.



It is almost impossible to verify the aspect of Durepungjang or the seasonal nongak in January. Apart from the sincerity of the original form of nongak, it has the nature of nongak, which can be re-discussed from the angle of traditional re-declaration in the future.

Since the traditional foundation of Gwangmyeong Nongak exists in the form of rice paddy farming and the deep bottom of the sound of rice paddies, the indigenous foundation of Gwangmyeong Nongak, which is the medium, also indicates the traditional origin of Gwangmyeong Nongak. The fundamental reason for Gwangmyeong Nongak is that the traditional culture was not kept in the process of the new industrial city called Gwangmyeong. As a precedent showing the problems and possibilities of the rapidly changing industrialization society, we should pay attention to the aspects and changes of Gwangmyeong Nongak at the same time.

Namsadangpae is a folk play group that originated from the working class in the late Joseon Dynasty, and it is a group of professional performers who performed with six kinds of talent: spinning plates (berna), skipping tricks (salpan), talnori (sokbogi), tightrope walking (yoreum), and puppet play (dulmi). It consists of 40 to 50 people, including four to five dungsoe, heat, beep (first-particle), low-pitch, and backers. Cheongnyongsa Temple, located in the middle of a mountain in Seowun-myeon, Anseong, became the home of Namsadangpae, and the origin of Anseong Namsadangpae can be seen as Buldanggol Sadangpae, which was sponsored by Cheongnyongsa Temple.

Anseong Namsadang Pungmul Nori consists of Yeonggi, Seonanggi, and family register, while Pungmul Jab consists of objects, buckgu and Mudong. The pungmul rhythm is based on 'Utopdari rhythm'. write powerful, delicate, slow, and fast rhythms evenly The composition of pangut consists of Insagut, Dolim Buckgu, Gopolim Buckgu, Dansan Distant, Dansan Norim Buckwheat (Yang Sangchigi), Dangsan Dolim Buckgu, Obangjin, Mudong Norim, Buckgu Norim (double-stringed white), Sadongbaeki, Gaetonggeori, Jwaupeulim, Nebaekchigi and Yisugi and Yisukim and Il.

In the early 20th century, many Namsadangpae Mogap were produced, and the pungmul of Anseong was called 'Uldari Nongak' and became the central part of Nongak in Gyeonggi Province. The Namsadangpae, which was active at the time, included Gaedaripae, Ohmyeongseonpae, Simseonokpae, Anseong Bokmanpae, Wonyukdeokpae, and Lee Wonbopae, but the actual origins of Namsadangpae are the genealogy of Baudeok, Kim Bokman, Wonyukdeok, Lee Wonbo and Kim Ki-bok.

In 1982, the Anseong Namsadang Preservation Society was established under the leadership of Kim Ki-bok, who took the Sangsoe class at the Yiwon Bopae. In 1989, he won the Presidential Award at the National Folk Arts Competition. Kim Ki-bok was designated as a holder of entertainment in 1997, but died in 2015. Since then, Sung Kwang-woo, the chairman of the conservation committee and assistant instructor for training, has been striving to perform performances and pass down the event.