The late Kim Gye-soon, the holder, has contributed much to the development of our embroidery today as a first-generation and old-timer of the modern embroidery industry in Korea.

He has been a self-made man for the past 50 to 60 years and has focused more on nurturing younger students and studying embroidery than on his own.

In particular, as it was prevalent in the royal court and was practiced in the women's diadem, there were not many literature materials, so it contributed a lot to the development of embroidery by analyzing and researching old works and devoting them to the design and reproduction of works.

"Kimchi-making" is a daily and repetitive culture in which the entire Korean people participate as a community beyond regional, social, and economic differences. Kimchi is an indispensable food for Koreans regardless of the region, and it has become one of Korea's representative foods in recognition of its excellence internationally.

It is an important component of Korean culture for a considerable period of time that contains the spirit of cooperation and sharing, and through this culture, individuals have become united in their relationships with the people, relatives, villages, neighbors, and new communities and have formed their identity.

"Kimjang," the core of kimchi-making, contains traditional knowledge that nature and humans can live together, and the spirit of sharing, solidarity and harmony that emphasizes to maintain the good of society continues to modern society.

In the past, if intergenerational transmission was carried out mainly in women's communities such as mothers and daughters-in-law based on accumulated experience and knowledge, Hyundai is becoming an active entity where science is integrated and men participate in kimchi, and schools, private organizations, and local governments are also actively participating in various forms of kimchi culture.

In addition, the various fermented bacteria in kimchi show biological diversity and local diversity, giving a glimpse of cultural diversity derived from natural environment.

Making kimchi did not recognize certain holders or organizations in that it was a lifestyle and culture handed down throughout the country rather than requiring high-level special skills.

lacquer shall be applied to a wooden bowl, etc. with a colouring agent, drying, etc. in lacquer gin to keep it from rotting and glossing, and a person with the technique of lacquer and its functions shall be referred to as lacquer paste shall be referred to as lacquer paste.

It is estimated that lacquer, which is handed down in Namwon-si, was the foundation of Shilsangsa Temple in Jirisan Mountain, and its origin was achieved by making woodcrafts such as bowls and jegae for the Buddha. After that, research and technology were developed by Yang Ki-soo, a natural lacquerware master, when Korea's first woodworking school was established during the Japanese Colonial Period.

Depending on how sap is collected, lacquer is made in various colors, including raw paint and painting, with natural lacquer gin, while painted craftsmanship has a subtle brown color as it ages. In addition, the products completed through the painting of chaebol up to 67 times have a very good effect on desiccation, waterproofing, insect repellent, and polishing.

Kim Eul-saeng of Namwon and Lee Eui-sik of Jeonju, who have been running three generations of lacquerware, have passed down the wood painting business to continue the tradition of lacquer techniques.

Nongak is the music played by farmers when they squeeze their dure and play percussion instruments such as kkwaenggwari, Jing, Janggu, and drum.

Haman Hwacheon Nongak, a type of nongak in Gyeongsangnam-do, was originated from the villagers who selected the large tree in front of the village as the sacred tree and held a ritual on the first day of the year on the eve of September and the first day of the Sangwol, praying for peace and a good harvest in the village, and playing nongak.

Nongak marched in one line to the rhythm of Sangsoe and danced in three circles to the round Gilgut and Salpugiak, while Yeongsan Da-Dragongigut and Gutmadang played by Yeongsan Dada-Dragongigut and Jangdokgigut played by Yeongsan Daryeonggi, which were played in three circles according to the rounding Gilgut and Salpugiak.Jangdan Nori Gut (Jangdan Nori Gut) is frequently performed in the order of wishing for a good harvest.

Currently, Bae Byeong-ho and Park Cheol are recognized as the owners of Haman Hwacheon Nongak, and they are striving to succeed in the war.

A small ranch refers to a carpenter who has the skills and skills to produce wood furniture such as a building door, a window, a wardrobe, a gauge, a desk, and a door-gap, which are symmetrical to a major construction site. Flower (는) refers to quince trees and is widely used as a high-end furniture material.

The name "small pasture" appeared from the Goryeo Dynasty, and it was called "ranch" during the Joseon Dynasty, but it seems to have been distinguished from the pasture. Until the early Joseon Dynasty, wooden furniture was mainly made for the royal and upper classes, but during the late Joseon Dynasty, it was widely distributed to the private sector and the number of types increased, resulting in significant regional characteristics.

Cho Ki-jong, who is now recognized as an intangible cultural asset, insists on only quince trees as wood, and the production technique uses the multiplication method of yonggui-jjim in Tonggagu. The entire process, from the use of wood to the finishing process, is faithful to traditional techniques. For example, the use of a log, the technique of knuckle weaving, the use of no glue or nails, the development of various types of jewelry and tools suitable for the furniture itself, and the use of traditional wooden tools at the final stage are unique features that can only be seen in Cho Ki-jong.

Gwangju Namhansanseong Soju is a folk liquor handed down from Namhansanseong Fortress. Namhansanseong Fortress was a place that flourished during King Sukjong's reign to the point of being called 'small Seoul'. Namhansanseong Fortress was rich in proximity to Seoul, and was widely used until the late Joseon Dynasty due to its origins and drinking by people living in a leisurely life.

It is estimated that the first debt was made by King Seonjo (r. 1567-1608), who built Namhansanseong Fortress, and the king was later found to have paid tribute to the king.

Brewing materials use water flowing down from Namhansanseong Fortress, rice produced here, yeast made from whole traditional wheat, and conventional taffes not found in other native states. When making yeast, knead the dough with a light water. Rice boiled and cooled with white rice mixed with yeast and water to make an undergarment, and one more time when it is brewed. Adding taffy not only improves the flavor of alcohol but also increases the storability of alcohol. The alcohol content of the fermented liquor is around 13 degrees Celsius and 40 degrees of distilled liquor after distillation. There's no other medicine or additives in it.

Characterized by being clear and clean.

Namhansanseong Soju is derived from Yi Jong-suk. Lee Jong-sook is said to have lived in Namhansanseong Fortress for generations and made alcohol. At one time, he ran a brewery in Songpa-gu, Seoul, to make a liquor called 'Baekje Soju.' Here

Kang Sin-man, who made Seo's liquor, received the secret recipe and passed it on to his second son, Kang Seok-pil. Following the death of Kang Seok-pil, his son, Kang Hwan-gu, is serving as an assistant instructor for soju in Namhansanseong, Gwangju.

"Nakhwa" refers to a craftsman who has the skill and ability to draw pictures of paper, wood, leather, etc. by using indoneses.

The origin of Korea's fall paintings can be found in the "Nakhwa Transformation" contained in the "Oju Yeonmunjangjeonsango" written by Yi Gyu-gyeong (1788-1863), a realist of the late Joseon Dynasty, and has been passed down around the Imsil area of Jeollabuk-do since the early 19th century.

The basic painting technique in Korea is not much different from the traditional painting technique because it is based on traditional painting. However, there is a unique difference in that various compliance methods such as Bubyeokjun and Woo Jeomjun of Oriental painting are expressed with indu instead of brushes, and the ink jokes shown in ink paintings are also expressed with indu. In this regard, Nakhwajang's skill in expressing skilled handwork and subtle jokes dealing with the pharynx and fire is important.

"Soy sauce making" is a concept that encompasses the overall process of preparing ingredients directly, making and fermenting, beyond the efficacy of the soy-based food, the intestine itself. In Korea, which belongs to the Dujiang culture, it is known that people made and ate soy sauce since the Three Kingdoms Period. In addition, during the Joseon Dynasty, the royal family had a separate burial chamber for the burial of the intestines, and traditional Korean burial grounds were an important place in the diet, such as the burial palace called "Jango Mama." <br /><br />우리나라의 '장 담그기'는 콩 재배, 메주 만들기, 장 만들기, 장 가르기, 숙성과 발효 등으로 이어지는 과정을 발전시켜왔다는 점에서 중국이나 일본과 구별되는 독특한 장 제조법을 가지고 있다. In addition, the two types of soybean paste and soy sauce were made after the process of floating fermented soybean paste, and the fact that the soybean paste and soy sauce were used in the previous year to go through the form of overlapping soy sauce for many years are both unique and characteristic of Korean soy sauce making. <br /><<<bb장장장장장장 '는는는 가지고 가지고 has a long history of making soy sauce since ancient times, it can be studied in various directions, including the study of Korean food recipes and dietary culture, the combination of Korean residential culture, seasonal customs, ups and downs, traditional science elements, and the fact that all Koreans are directly and indirectly participating in the designation of the national cultural heritage by generations. <br /><br />다만, '장 담그기'는 우리나라 전역에서 각 가정을 중심으로 현재도 자연스럽게 전승되고 있는 생활관습이자 문화라는 점에서, 특정 보유자나 보유단체를 인정하지 않는다.

Deulmal duresoori is a song related to rice paddy farming that was introduced in Moksang-dong, Daedeok-gu. Located in a wide field where Gapcheon and Geumgang meet, Moksang-dong has long been famous for farming and farming activities. Because planting rice paddies and paddy fields required intensive labor, in the past, a village-level jointing was organized. During the busy farming season, one person usually participates from one house. As about 80 houses lived in the field, the perimeter of the field was a large labor organization with 80 people.

When going out for rice paddies, all the doveeers gather in the empty area of the village, and then head to the rice paddy field with their farming tools in front of them. When you arrive at the rice paddy and start working, all the duremen work with a loud backstabbing sound, according to the singer's lead. The sound of rice farming resonates throughout the fields, and it is said that even the distant listeners were excited by themselves. This exhilarating sound of rice farming helped us overcome the hardships of our work. Like this, Nongyo is a valuable cultural asset that captures the collective identity of the old people.

Some of the representative songs of the Deulmal Dulegesori, which won the Presidential Award at the 37th National Folk Arts Competition, include Mochi Se, Mochi Se, Mochi Sori, Sausage Sori, Long Boss Sori, and Jajin Sangsori, and others.

The owner, Ko Seok-geun, has a rather strong voice, a good initial consonant (voice) and document (private) that should be equipped as a singer, and is excellent at choosing editorials and arranging songs.

A knot is a person who has the skill of making various kinds of knots or putting on alcohol using a string.

The string refers to the weaving of three or more strings together with several strands of thread. Alcohol is used to decorate the bottom of a string or knot, and is used for various musical instruments and Buddhist vessels. A knot used as a decoration for a costume or ritual utensils is also called an answer or a defect.

The origin of the knot can be seen from primitive times, but whether the purpose is for decoration or practical purposes, the knot technique that has continued to this day was introduced through China during the Three Kingdoms Period. The records of "Daejeon Hoe-tong" show that there was a knot belonging to the state during the Joseon Dynasty.

The materials for the knot include silk thread, ramie yarn, doctor's room, hempecil, and wool, and vary in shape depending on the color, thickness, and texture of the string. The name varies depending on the region.

The name of the knot comes from all kinds of objects, flowers, and insect names that we easily see and use, including raw fish, butterflies, dragonflies, and chrysanthemum mates. Alcohol also varied according to its use, including daughter skills, sewing, hoppaesul, and bell wine, and even the same type of alcohol had different dignity depending on the court and locality.

The knot was designated as an intangible cultural asset to protect and transfer traditional craftsmanship. On December 31, 1996, Kim Eun-young was recognized as the holder of the intangible cultural asset knotting function and passed down our unique knotting method, and was recognized as an honorary holder on November 16, 2017.

※For more information on the above cultural assets, please contact the Seoul Metropolitan Government Department of Historical and Cultural Heritage (☎02-2133-2616).

Dano, which falls on the fifth day of the fifth lunar month, is called Nopeun nal (High Day) or Surit nal (Day of Gods). The Dano Festival of Gangneung is one of the festivals with the longest history in the country. On that day, people held a sacrificial rite to mountain gods in Daegwallyeong Pass and prayed for good harvest and peace of the village.

There are some records left by ancestors about the relevant rites. Chugangnaenghwa, a collection of writings of Nam Hyo-on (1454-1492), contains a statement about a sacrificial rite held for mountain gods and a three-day rite held in March through May. Seongsobubugo, a collection of writings of Heo Gyun (1569-1618), tells a story about witnessing a scene from the Dano Festival of Gangneung in 1603.

Villagers believed that their village would suffer a calamity unless they held a sacrificial rite on Dano. Thus, they brought a guardian deity from the shrine of tutelary gods in Daegwallyeong Pass. They placed it along with the female guardian of Gangneung on top of an altar and held a sacrificial rite. They are said to have believed the leading tutelary god in Daegwallyeong to be General Kim Yu-sin, the guardian placed on the top of their altar to be Monk Beomil, and the female guardian to be a maid from the local Jeong family.

Locals make liquor to be served during the festival, on the eve of which they hold a sacrificial rite at the shrine in Daegwallyeong. They take a holy tree and a deity and keep them at the female deity shrine in Hongje-dong. After holding a rite of welcoming the deities in the evening, they take the deities to an altar set up at a riverside place close to Namdaecheon Stream. During the festival, people hold sacrificial rites twice a day for five days at the altar, praying for the peace and prosperity of the village.

During the festival, special events such as the following are held: mask stage play, tree swinging, ssireum (Korean wrestling), farmers’ music contest, washing the hair in water mixed with changpo (iris; Acorus calamus), eating rice cake made with surichwi (Synurus deltoids), etc.

On the day after Dano, the holy tree is burned, and the tutelary god is taken back to Daegwallyeong. This marks the close of the Dano Festival.

The Dano Festival of Gangneung is composed of a Confucianism-style rite held by officiants and a gut performed by exorcists. It is a village festival that is larger in scale than any other held in areas along the East Coast, attracting a large crowd and creating an atmosphere similar to that of an open-air market. The mask stage play, wherein actors act as those from a noble family and slaves, is a pantomime entertaining the audience.

The festival displays the spirit of locals collaborating with each other. In November 2005, it was designated as UNESCO Masterpieces of the Oral and Intangible Heritage of Humanity in recognition of its cultural originality and outstanding artistic quality.

☆Sagijang refers to a person who has the ability to bake a china bowl at a high temperature of more than 1,300°C by mixing various soil.

The late Kim Yun-tae, who was the owner of Sagi-jang, was a man of Mungyeong. Mungyeong was widely distributed with red clay, white clay, sajil clay, and pottery, and the water in the valley was good, so around 1700, when artisans who had crossed over Mungyeongsaejae Hill settled down and mainly produced tea cups and semi-phase machines. The Galjeonyo of Mungyeong was a kiln run by Kim Yun-tae's grandfather, and was succeeded by Kim Jong-seong, Kim's uncle, although there was a few years of absence from the post-liberation period until the Korean War.

The production of traditional Korean ceramics can be largely divided into the divisional atomizer operated by the government and the privately owned porcelain that originated naturally in various parts of the country during the late Joseon Dynasty. Among them, the private sector can be divided into areas where skilled sagijangs were kidnapped by Japan during the Japanese Invasion of Korea in 1592, and Kim Yun-tae inherited a kiln tradition in northern Gyeongsangbuk-do, a representative mountain area for civilian prisoners who escaped kidnapping.

Kim Yun-tae inherited the kiln from his grandfather Kim Il-bae and uncle Kim Jong-seong during the late Joseon Dynasty and produced pottery for the rest of his life. Among the fields of household porcelain and bowls were excellent.

They have the characteristics of a local kiln at the end of the Joseon Dynasty and inherit traditional techniques. In addition, the entire process of collecting clay, receiving water, making bowls, cutting, chiseling, and grilling are following the traditional production style of the late Joseon Dynasty.

Kim Yun-tae was in charge of the entire process of white porcelain production, including digging clay, pulling out the dough and air bubbles, making a lump of clay to be placed on a spinning wheel, wiping out the holes in the molded bowl, and applying glaze, as well as the role of the underwater forces in all the white porcelain production.

Kim Yun-tae did all of this, especially the traditional kiln production technology made of mangdeng (or mangsaeng) was considered the best in Korea, as few people were able to do the entire process of white porcelain production alone across the country.

Kim Yeong-gil, the eldest son of Kim Yun-tae, was recognized as the owner of sagijang in March 2015 for his ability to carry out not only his father's traditional techniques but also his family's construction of kilns and spinning wheels using Mangsaeng, and to handle the entire process of making traditional white porcelain by himself.

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