Muju Anseong Nakhwa Nori refers to a traditional Korean folk game in which people hang a long line of Nakhwabong Peak with charcoal powder, sageum fly, salt, and dried mugwort on the fifteenth of lunar January, before rice planting, and on the fifteenth of July, and light it up to enjoy the shape of fireworks and the sound of explosion. This is also known as 'Julbulnori,' or 'Julbulbul.'

1. Fireworks and Nakhwa games

There are earthenware, firecrackers, lotus lanterns, volcanic belt, julbul-nakhwa nori, buldan-nakhwa nori, egg fire, torchlight play, and ddakchong nori.

2. Regional Distribution of Nakhwa Nori

"Yeondeung" in Bukcheong, Hamgyeongnam-do, "Yeondeung" in Jeongju, Pyeonganbuk-do, "Nakhwa Nori" in Yeoju, Gyeonggi-do, "Fireworks" in Cheongju, Chungcheongbuk-do, "Yeondeung and Gwaneung" in Chungju, Chungju, North Chungcheong-do, "Yeonyu-Julbulnori" in Andong, North Gyeongsang Province, and "Yi-Sujeong Nakhwa Nori-dong in Haman Province" in South Gyeongsang Province, South Gyeongsang Province, South Gyeongsang Province, South Gyeongsang Province..

3. Characteristics of Nakhwa Nori in Korea

First, our country's Nakhwa Nori is distributed nationwide. Second, the performance period is held on the first day of the fourth lunar month and on the fifteenth day of the first full moon of the first lunar month. Third, the venue for the performance takes place in the village. Fourth, the organizer of the performance is the villagers. Fifth, the materials used for making are charcoal, hanji, and string. Sagum fly, mugwort, salt and sulfur are added. Sixth, according to the contents of the performance, there are various types of firework, such as firework, firework, lantern hanging from a pole and lighting it up.

Dancheong refers to the technique of coloring a building or the result of its use, and Dancheongjang refers to a craftsman who does dancheong work. The area of dancheong has traditionally tended to encompass discord, and the recent learning process supports this perception. The history of Dancheong dates back to the Three Kingdoms Period. Damjing of Goguryeo, Baekje's Baekga and Silla's Solgeo are all considered to have been responsible for the responsibility of dancheong as painters who painted murals in temples.

Dancheong, which is painted on Buddhist temples and palaces with special authority, was used to extend the life span of the building and to serve as both a grandeur. Even among the buildings, the design choices and the degree of decoration were different, and the prestige was different. The royal palaces and the temple's Daeungjeon Hall were treated with a variety of Geumdancheong, Morodancheong, and Geukgi Dancheong. It embodies a bright pattern based mainly on five mineralized stone pigments.

Dancheongjang includes Yi Chih-ho, Kim Seong-su, Im Seok-jeong, and Hong Chang-won, who were designated as national Intangible Cultural assets, and many craftsmen are also working in the provinces through their respective transmission systems. Gyeonggi-do Province is the owner of Dancheongjang, and Kim Jong-wook (born 1937) was designated as the head of Dancheongjang in 1999.

Hwagak craft refers to crafts or techniques used to decorate the back by grinding iron horns thinly and drawing patterns. The artisan who works in hwagak is called hwagakjang. Hwagak crafts are unique characteristics of Korean crafts, which are not found in other countries, and show the characteristics of Korean woodcraft along with lacquerware. The origin is unknown, but the shell of a tortoise with similar characteristics was used during the Goryeo Dynasty's Najeonchigi, and the traces of the tortoise were evident after the late Joseon Dynasty.

Hwagak uses a ventriloquism technique that boils the horns of a bull aged 3 to 5 and spreads them in half to make a flat surface, then stirs them thin enough to show the back, drawing a pattern on the back. Not only does the complexion preserve the color well, but the color is also deeper, enhancing the quality of the craftwork. Each piece of the pattern is attached with a glue on the skeleton, and the cow bones are cut between the pieces to fix the boundary. However, it is not easy to preserve them because of the elasticity of the cones, which were originally cones, over time. Therefore, the process of preparing materials was complicated and cumbersome, and expensive, so it was used by the royal court and the minority ruling class.

The late Eumilcheon and Lee Jae-man were designated as national Intangible Cultural assets, while the late Han Chun-seop (1949-2015) of Gyeonggi-do was the only holder of the local incinerator. Han Chun-seop learned the art of painting by entering the Najeonchigi, and then learned the art of painting again under Eumilcheon. Currently, his son, Han Ki-duk, has been designated as an assistant instructor and is working hard to pass down his skills.

Drumming refers to the art of making traditional drums. The mastermind of the drumming was called "Kang Ssuhuan" in Chinese characters. The drum, which makes sounds by ringing animal skins, is considered one of the most primitive instruments. This is because the sound of leather moves the basic sensibility of human beings more than other materials. Therefore, the North has a very long history, regardless of which country it is, and South Korea is no exception.

The drum is divided into Jeongakyong, Buddhist temple, and civilian use according to its purpose, and there are many types of drum. In addition to Beopgo, Maegu Book for Nongak, and Sori Book for Pansori, there are 14 types of Jeongak, including Jugo, Yonggo, Yeonggo, and Gyobango, and others, which are commonly known as Beopgo, Maegu Book for Nongak, and Pansori, and Sogo and Janggo for private use. The janggu was originally produced separately, but is now included in the scope of the work of the drumming machine.

Drums with different names differ in form or method of making them for different purposes. The drum usually uses cowhide, but the janggu needs to use doghook to make its own sound. One of the key points of drumming is the making of the woolen canister and leather tanning technology. The tanning that deals with raw leather is now only partially transmitted. There are ways to cut down the inside of a log and to connect the sides of a tree to make a round ring. Among these, the technology to connect the sides of a tree is very demanding and difficult.

Bukmaeugi was recognized as a national Intangible Cultural asset by the late Park Kyun-seok and the late Yun Deok-jin. Currently, Gyeonggi-do Province is tying up and designating drum-maeugi for the musical instrument field. In 1999, Im Sun-bin (born in 1950) was recognized for his function, and his son is recognized as a son.

Im Dong-guk and other students are actively being taught to him.

The stringed instrument field among musical instruments refers to craftsmen who produce gayageum and geomungo. During the Joseon Dynasty, it was also called a pungryu or pungmungmuljang. The history of stringed instruments dates back to before the Three Kingdoms Period. The geomungo of six prefectures was invented by Wang Sanak of Goguryeo, and twelve lines of gayageum originated from Gaya. Geomungo was also referred to as Hyeonhakgeum, or cash, which means the most fundamental musical instrument, because black cranes gathered together at a solemn sound. Geomungo is a symbol of harmony among the Yaeak, the core of the political philosophy of oil prices, beyond entertainment, and was also a must-have item in the study of noblemen and scholars.

In addition to geomungo and gayageum, string instruments include Ajaeng, Haegeum, Daejaeng, Hyangbipa, Wolgeum, Wa Gonghu, Su Gonghu, and Yanggeum, among which Gayageum is largely divided into Jeongakyong and Sanjo. The main ingredient of the string instrument is an odong tree, which is used as an eulimtong, and chestnut wood, which is stronger than this, is used to support the sound. The craftsman who deals with stringed instruments thinks that the difference in sound quality is mainly related to the quality of the paulownia, so he puts his efforts into obtaining quality materials. Since ancient times, it has been widely recognized that the slow-growing Odong in the midst of barren rocks has a soft sound, and Seoksang-dong, recorded in "The Evil Scrolls," is related to this.

String instruments are among the areas that have been activated compared to other craft fields thanks to the success of Gugak. The late Kim Kwang-ju, Lee Young-soo, and Go Heung-gon have been recognized as national Intangible Cultural assets. In Gyeonggi-do, strings are tied and designated in the field of musical instrument No. 30-2. In 1999, Choi Tae-soon (born in 1941) was recognized for his function and actively taught to his son Choi Jung-wook and other students.

Whistle-jobs means fast-paced ones. The name Whistle Japga was given as the relative meaning of the long japga. The sit-down songs of the Jitchang line, such as the Gyeonggido and Whistle Japga, were developed by singers in and around Seoul, focusing on the Manrijae and Cheongpa Island, which were called the Four Seasons of Seoul, during the late Joseon Dynasty.

When the miscellaneous singers sang, they sang the lyrics and sijo first, followed by a long jagga, a male jagga, and a Whistle jagga before ending the game with a popular folk song. In other words, it can be seen that Whistle Japga was mainly a song that was sung at the end because the humorous lyrics of Whistle Japga played an exciting role. The lyrics of Whistlejapga are usually variations of the long-shaped sijo, which are tightly woven on the stir-frying taryeong rhythm. For this reason, Whistle Japga is included as a branch of the private poem.

Whistling is characterized by humorous lyrics. Listing the lyrics quickly has the effect of making you focus more on the lyrics. The lyrics of Whistling Japga evoke laughter by exaggerating, enlarging, enumerating, and reversing. Some of the current Hwimori jagga include "Gombo Taryeong," "Gimmaejabong," "Manhakcheonbong," "Gisaeng Taryeong," "Bawi Taryeong," "Bareung Taryeong," "Byeongjeong Taryeong," "Yook Chilwol-ryun Day," "Soongeomtaryeong," and "Bidan Taryeong."

It is common for a whirling singer to sit alone and sing while playing janggu. The rock taryeong is a mixture of song and Changbu taryeongjo, and the silk taryeong is read like a book, and is sung in the sound of Maengindeokdamgyeong at the end. In addition, Gisaengtaryeong, Maengkongtaryeong and Rocktaryeong are stir-fried taryeong.

Currently, Kim Kwon-soo, the owner of the Whistlejacka entertainment show, continues to perform and pass on Korean traditional music.

The dance is a dance that sublimates the anguish and anguish of walking on the path of a clergyman, and is named as a Buddhist monk because it has a strong Buddhist color and dances in a gaseous and jangsamjang, and wears a cone hat. The main dance is similar to the Salpuri dance, and the form of the dance is also a perfect solo dance.

Gyeonggi-do-designated Intangible Cultural asset, Buddhist dance, is a dance that inherits the Seungmu of Hwaseong Jaeincheng People's Republic of Korea, and its origin is that Sangjwaang danced Seungmu to heal his teacher's illness and left the temple when his teacher's illness. Thus, the Buddhist dance of Jaein Chungryu includes the dance of leaving after finishing the drum play section, taking off the cone hat and jangsam, and hanging over the drum.

Salpuri dance is a dance that is performed to the rhythm of Namdo's Muak called Salpuri among shamanistic music. Originally, shamans used to dance as a means of encountering gods, but were later transformed into Gyobang art by clowns and gisaengs. It is characterized by dancing with a white towel in a white jacket, a white skirt, a socks and a loose coat.

Kim Bok-ryeon (born 1948, female) was a student of Jeong Gyeong-pa and was designated as the holder of the dance on November 25, 2002.

Fraud means a person or a person who makes a bowl form by mixing white clay, etc., and then makes a bowl baked at a high temperature of 1300°C or higher.

In the late Joseon Dynasty, when government-controlled ceramics were closed, potters scattered across the country, and folk songs (where ceramics are made in the private sector) flourished in the provinces.

Banggok-ri, Daegang-myeon, is also widely known as one of the places where folk pottery was produced during the Joseon Dynasty, and potters who are still making traditional pottery are still active.

In particular, Seo Dong-gyu, a functional holder, was born and raised there and has been devoted to making starch. In the early days, tea cups centered on Dawan were well received by Japanese favorite artists, and melodies were reproduced using natural yuak.

Banggok-ri Melting has a unique characteristic that it does not spoil, cool quickly, and does not stick to the fat.

In addition, the intense lines, majestic shapes, and delicate yet soft droplets that appear during baking in a pine fire kiln are aesthetic expressions that no one can imitate.

The production process is as follows.

1 Prepare to remove firewood with pine trees directly removed from Hwangjeongsan Mountain

2 Mud mixing (making sand soil) with soil enriched with granite

3 Digging the sand and putting it in the water

4 Rinse out the water a few times

5 Drying soil

6 To knead and knead dry earth

7 Molding on a dough spinning wheel

8 Use fire above 900°C for 3 hours

9 Apply glaze made of lye (because it is fragile)

10 Cooking glazed bowls for 16 hours on a light fire

11 Applying ashes to burn elm trees



* Functional holder Seo Dong-gyu

Seo Dong-gyu was born in Danyang, North Chungcheong Province, in 1938 and entered Banggok pottery in 1956. Starting with the Gyeonggi-do Folk Art Competition, he will participate in various exhibitions, including the Dong-A Art Festival's entry into the craft section, the Korea Art Exhibition's special selection of the craft section, the Korea National Exhibition, the Korean Traditional Ceramics Exhibition at the Hawaii Invitation Hall in the U.S., and the Tokyo Exhibition in Japan.

In 2000, he was awarded the Minister of Labor's Commendation, and in 2001, he was awarded the Prime Minister's Commendation. By 2002, he was selected as Chungbuk Intangible Cultural Property No. 10. His family has made pottery since his grandfather's unit, and Seo Dong-gyu has been making pottery for three generations.

After his father's death, he became the head of a boy's family at the age of 14 and learned pottery skills from time to time by helping his family's livelihood in the Gwaneumni Sajeomgama. Since the age of 18, Mungyeong area has been known as a well-known swindler. He became a midwife of the Mungyeong Traditional Tea Bowl Festival in 1999 as he was selected as a master of Korean traditional tea ceremony in 1995 and became known as a craftsman who continued the tradition after the war. Although exhibitions of works have been held mainly overseas, about 80 exhibitions have been held in Korea since the 1980s due to the growing interest in Korean traditional culture. The Docheon Scholarship Association was established with the proceeds from the exhibition, and most of the donations were made to community service activities.

In order to promote and promote the excellent traditional ceramic culture, various workshops are held at Mungyeong University and Korea Art High School in Icheon, Gyeonggi-do to teach the demonstration of footmills and how to make glaze. Not long ago, it registered a patent for the first time in Korea to compensate for the shortcomings of traditional mounted kilns. Thanks to his efforts to inherit and develop the traditional culture, he was awarded the Order of Korea's Dongtan Industrial Medal in 2005, and was selected as a functional Korean in 2006 and awarded the Minister of Labor's commendation. In November 2008, he was the first Korean to receive the Order of the Japanese Order of Cultural Merit, Wookil Ssangjang. In October 2018, the Hwagwan Order of Cultural Merit was awarded to those who contributed to the development of culture and arts.

Joseonjang refers to a craftsman who makes Hansun Hanryuk, a traditional Korean ship. In the case of Hanseon, it takes two to three people to build a large ship and one to two people to build a small ship, depending on the type of ship. The shipbuilding yard requires not only knowledge of the ship's structure but also architectural engineering skills. It also needs to be accurate and experienced as it is necessary to build a ship, a solid wooden structure, by weaving in numerous members.

Among the ships on the Han line, the boats operating on the river are called Gangseon 江船. Unlike Byeongseon and Jounseon, which operated on the sea, Gangseon was built to suit the rivers of Korea. Typical riverboats are ferry boats and ferry boats used to cross rivers at ferry sites. The common thing between ferry and ferry is that there are no masts. On the other hand, it was said to be a night-distance boat, which was available both in the sea and on land, and entered inland through the river. The ship is characterized by its flat bottom, allowing it to sit still in the sand by the river.

Since the most commercially developed waterway in Korea was the Han River Waterway leading to Seoul, the majority of the Hanseon engineers, especially the Gangseon engineers, lived in the Han River basin. The technology for manufacturing steel wires developed in the Han River basin, and the pulse of the technology has continued to recent years.

Recently, however, traditional craftsmen have died of old age, and the number of skilled craftsmen is so rare that they are almost exhausted. Kim Gwi-seong, the owner of a shipbuilding yard who has been engaged in Joseon and ferry services for eight generations, continues the tradition of making traditional Korean ships.

He lived in Baealmi-dong, Hanam, under Paldang Dam, and learned how to make strong ships from his father, Kim Yong-un. Most of the cruise and exhibition ships in Seoul and Gyeongji areas, including the Hwangpo sailboat with a head of Yangpyeong, were produced by Kim Gwi-sung.

Dodangje is a representative branch of village belief that is passed down around Seoul and Gyeonggi-do. Although the detailed religious form and ritual procedures of the Dodang system vary depending on the region, the commonality can be found in the structural aspect of bringing the village god back to Jejang. Samgaksan Dodangje also has a structure in which a dokdang father and a dokdang grandmother are enshrined and sent back after a ritual.

It is a stock without a holder, and on November 4, 2010, the Triangle Sandodang Preservation Society was recognized as a holding organization.

※ 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 ranch refers to a craftsman who builds a house. It was also called a carpenter or ranch, and among them, a master craftsman who was responsible for the overall work was referred to as a potter or a potter. In Korea, wooden houses were developed with wood that were easily found in large forests, and palaces and temples were also built with trees. Therefore, the carpenter's job to handle trees was very useful.

In "Gyeongguk Daejeon," it was recorded as a ranch without distinction between a ranch and a small ranch, but during the Goryeo Dynasty, there were two separate areas for building houses and weaving furniture. As the carpenter's work was complicated, he organized a systematized organization according to his duties. Under Dogyeonsu, which was in charge of the overall control of the entire building, there were several auxiliary pieces and pyeons and pyeons. The pyeons and wooden pyeons helped to cut and hang rafters in each process, including columns and beams, and roof structure. In addition to building the house, the wooden-floored ranch for weaving door frames, the stone yard for laying on ondol, the ni-jang for finishing the wall, and the Jehu and Bunwa-jang for making tiles and connecting the roof are long as each of their responsibilities.

It was the purification of the technology culture that was completed through close collaboration. In particular, the traditional burial ground's ability to complete a house with a simple number and columns without any detailed drawings is amazing.

The ranch includes the late Bae Hee-han, the late Lee Kwang-kyu, the late Ko Taek-young and Shin Eung-soo, Jeon Heung-soo and Choi Ki-young, who were designated as national Intangible Cultural assets, and several craftsmen are also working in the provinces through their respective transmission systems. Gyeonggi-do Provincial Government is a master of the ranch, and Jang Hyo-soon (born 1939) was designated as No. 36 in 2001.

Kwon O-dal was born in Yangpyeong, Gyeonggi-do in 1944, and was taught by Oh Myeong-geun and Lee Jong-cheon at the age of 15. In 1998, he won a number of awards, including the Master of Korean Stone Crafts and the Presidential Commendation.

Iksan is home to stones that produce most of the nation's stone materials, and many stone Cultural assets such as the Maitreya Temple Site Stone Pagoda and the Buddha statue remain, and the traditional stone craft industry is particularly developed.

Kwon O-dal systematically organized the stone art of Iksan, and mainly deals with Buddhist sculptures and traditional sculptures such as Buddha statues, stupas, and the twelve earthly statues of the graveyard, and continues the tradition of Korean traditional stone crafts.

Yajang is a master craftsman who makes tools by tapping on metal fittings and runs a blacksmith's shop. Regardless of age, the field rose according to his skills and served as the leader of catchers, grasshoppers and errands. Due to the fact that it takes a long time to acquire the art of blacksmithing, and that people were reluctant to transfer technology other than their family members, the field could not be anyone else.

The field owner Shin In-young studied skills from Kang Seok-bong, the four major field leaders of "Anseong Daejanggan." "Anseong Daejanggan" was famous for its deep history, high technology, and large scale among about a dozen blacksmiths in Anseong. Kang Seok-bong, who inherited the tradition of "Anseong Daejanggan," has passed on the technology to Shin In-young, a nephew of his wife's nephew, since 1966. Shin In-young has been a regular field since 1969, and has been running Anseong Daejanggan as one of the top five.

He is known as the only field where he can make items by making traditional earth-based fasteners. Folding is a traditional method of making strong and resilient iron by attaching several layers of iron that have a difference in carbon volume, such as steel and soft iron, which requires long training. The number of folds varies depending on the products produced, and they were mainly used for military equipment and construction steel.

He restored Sungnyemun's iron leaves using this traditional folding technique, and recycled the Gyeongbok Palace's folding iron to produce Sungnyemun's Umjidong, Dongja, Duntte, Panmunjeom Tie Iron and Steel. His work also includes a stone tool used to repair the stone pagoda at Mireuksa Temple Site.

Many terms are used in the Gyeonggi-do area, such as "jari heart" and "banggaseum," but this is a common term. Walking is one of the ceremonies held on the night of the funeral in Seoul and Gyeonggi Province, and is a kind of purification ritual. In shamanism, the surrounding of the dead body and the dead body is defined as unjust, which is a concept viewed from the point of view of the living. Jajari is performed in a ceremony that requires a process to purify injustice, and the background of this death rite is that the living are pursued through rituals for the dead.

It is a small-scale ritual that does not involve complicated procedures and contents, and consists largely of "negative Cheongbae," "jariwalking," and "backward." Because it is not a exorcism, it does not involve a variety of dances, songs and accompaniment music. Most of the minimal procedures are carried out by sitting down and often by hooks or keys.

Although various localities and people perform the activities, Jeong Yeong-do's activities have a procedure that draws special attention to the composition and contents of Jeong Yeong-do's activities. The process of purifying unclean places and unclean places clearly reveals the nature of traditional Cultural Heritage.

Jeong Yeong-do, the owner of the rock-carrying business, learned how to walk from Kim and Guri 'Doldari Kwon Man-shin', who had been doing business in Bucheon and were called 'Nommal Shin clan Man-shin'. In 1993, the Jajari Jajari Conservation Society was formed to promote the success of Jajari Jageori in Gyeonggi-do.