He is also a carpenter who is responsible for the supervision of construction as well as the technical design of building and trimming timber in the construction of a house with wood materials. He also refers to a potter who constructs palaces, temples, and military facilities. The head of the ranch is distinguished from the small ranch in charge of small-scale carpentry, such as doors and handrails, and is responsible for the completion of the house by joining forces with the head of the wajang, dejab, Seokjang, Mijang, and Dancheong. Government posts were given during the Unified Silla, Goryeo, and Joseon periods, but today, the art of plowing has been passed down to the construction of temples, seowon, Hyanggyo, and Traditional Korean houses.

Because the technique is strictly inherited, the gate is formed.

A gate is a technique in which a family is created, and a burial ground in the gate has absolute authority.

He introduced Traditional architectural techniques from his grandfather Shin Seong-jip (1877-1954), his father Shin Hyuk-mook (1921-1968), when he was 19 years old, and engaged in activities for transfer and research. Since 1999, his second son, Shin Tae-seon, has also joined the training program.

Artistic aspects and characteristics include the use of Traditional Korean materials, following the Traditional wooden building process during the production process, and the use of drying techniques using smoke and flame inherited from one's father during the process of chi-mok. The characteristic of the tree is that each architecture does not have the same motif, creating a creative and decorative expression. In particular, design drawings that are difficult to see in other artisans are being prepared and constructed, and drawings drawn from 20 years ago have been kept. This is different from other artisans who draw professional designs themselves.

Gimun Gate has been codified for generations to carry out active transfer and research activities, and it shows a local tradition to preserve the characteristics of the region and maintain its Traditionality. In terms of art, the use of Traditional materials, the production process of Traditional wooden architecture, the drying technique inherited from the father of the tree process, the representation of the design of different patterns, and the design drawings are directly drawn and constructed.

Lee Jong-deok was born in Buyeo, South Chungcheong Province in 1961, and was studied by Kim Yak-hwan, Lee Bong-ju, Park Im-mo, Song Gwang-ho, Park Il-dong, and Gwak Seon-jae, and won prizes at the Jeonseung Craft Competition and the Jeonbuk Craft Competition.

Abandoned means a brass bowl, of which Bangjja Yugi is made by mixing 78% copper and 22% tin, then melting it and tapping it. The origin of brass dates back to the Bronze Age, during the Iron Age and the Three Kingdoms Period, and came to the Goryeo Dynasty, focusing on Buddhism and the upper classes, and during the Joseon Dynasty, ordinary people also used it. Bangjayugi was one of the most representative native products in North Jeolla Province until recently, and the "Gyeongguk Daejeon" also had strong anti-soil cultural characteristics, with records showing that its foreign factories were located in Jeonju and Namwon. In particular, until 6.25, organic production was active in North Jeolla Province, including Namwon, Unbong, Jeonju, Imsil, Jeongeup, and Gunsan, and Jeonju and Iksan.

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.

Jihwajang refers to a craftsman who specializes in making paper flowers used for ceremonial purposes and religious purposes.

Most of the paintings are made of white or five-colored paper, and their types include royal paintings, Buddhist martial arts, and shamanic paintings.

Kim Eun-ok is a fourth-generation painter who has the ability to make shamanic paintings, especially in the family of master painters. She has been making flowers of sea otters, male octagonal lotus, Chilseonghwa, baby seed Dongja flower, Seori flower, Jeonbal, Bongjuk, Five Color Jangbal, Daesangbal, Hambak flower, Sanshin grandpa flower, Eight Sansunnyeo, Dosan flower, Tenjangsaeng, Songchimun Gate, Seongmun, and Seongsaeng flower, etc.

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.

A Traditional self-prayer is a person or skill who makes himself or herself with Traditional techniques.

Since the Neolithic Age, Korea has made and used earthenware, and in the early 10th century, it adopted pottery techniques from the Tang Dynasty of China to make inlaid celadon.

Then, due to the Mongol invasions, celadon manufacturing techniques declined, and the production of buncheong ware and Joseon white porcelain became more active during the early Joseon Dynasty.

However, the kilns were destroyed during the Japanese Invasion of Korea (1592) and many potters were taken to Japan, leading to the decline of ceramic Technology. Fortunately, Gwangju Gwanyo was the only one left, creating a large stem centered on Joseon white porcelain.

The production process of Traditional porcelain involves the process of clay, plastic surgery, sculpture, poetry, plastic surgery, etc. The Zeto process breaks stones into powder, releases soil, mixes them, and undergoes a defensive process to remove impurities, and then builds up the clay. After the molding is over, place the crushed soil on a spinning wheel to form an object. After the molding is over, dry it and carve it with a knife.

After that, the work is completed by baking, applying glaze, and finishing grilled chaebol. The production tools include a spinning wheel, bat, earth gourd, cart, water leather, iron holtae, necklaces, and electric knives.

Traditional porcelain ware was designated as an intangible cultural asset to protect and transfer Korean beauty as a Traditional craftsmanship.

Jang Song-mo of Gangwon-do, who has completed the production function of Traditional ceramics, continues his career by establishing the Gangwon Ceramic Culture Research Association.

A joint refers to a person or a technique for making jangjuk (long tobacco pipe). It is assumed that tobacco pipes were also introduced at that time as cigarettes came through Japan after the Japanese Invasion of Korea (1592-1592). According to sources, tobacco makers lived in Munsan-eup, Jinju, about 550 years ago, and now they call it daebanggol because they still live together.

Cigarettes are cow porridge according to the size of the tip radius, torso, and water. Small and medium sized porridge. Heavy porridge. It is divided into bamboo, gray-moon-juk, yangjeong-juk, and odongjuk, depending on the ingredients and patterns. The structure consists of a cigarette box that is burned with tobacco, a water bottle that is sucked into the mouth, and a snow pipe that connects the cigarette bottle with the water bill.

The production process is to melt iron, cut iron into small pieces, cut daegam, cut persimmon porridge, make Haemoonjuk patterns, make flower petals, cut flowers, cut flowers, make flower petals, cut flowers, make tops, attach tops, linework, mop-shop, and snowflake. The most important thing is to combine iron melting with goods. Hammer, chisel, stone head, string, bow, and corrugated board are used as tools.

A craftsman who makes musical instruments is called a musical instrument master. The names of artisans related to instruments such as pungmuljang, jangjang, and gongjang are visible on the factory lanterns of Gyeongguk Daejeon during the Joseon Dynasty. There are about 60 to 70 types of musical instruments produced in Korea and handed down to date, including our own instruments and those from China or the West. There is no craftsman who makes all of these, but each event is classified as a musical instrument.

There is no clear record, but it is believed that there have been professional craftsmen who make musical instruments since the Three Kingdoms Period. Various wind and string instruments for the murals of Goguryeo tombs.The percussion instruments and others appear, and musical instruments are also visible in the patterns of King Beomjong of Silla. A figure of Gayageum figures is also found in Tou, Silla, which is believed to have been around the 4th century. In addition, the birth of musical instruments can be seen in the tales of Wangsanak in Goguryeo, Kasil King in Gaya, and Manpa Sik in Silla, but there are no stories about artisans and methods of production.

During the Joseon Dynasty, the musical instruments were used to make musical instruments and clothing for national rituals and ceremonies, which were valued by Confucianism.instrumental colors, musical instruments inc.A special department was established, such as the Musical Instruments Agency. In addition, the state-run music organization, the Gukjawon, mobilized craftsmen from various fields to direct and supervise the work, and finally supervised the tuning and ending of musical instruments.

Traditional musical instruments can be classified as string instruments, wind instruments, and percussion instruments, or they can be classified according to their materials, and eight important materials are called selling. Gold and silver are instruments made of metal and have backs. Seok is a stone instrument made of pyeongyeong and special features. These include geomungo, gayageum, haegeum, ajaeng, and Bipa, which are made of silk strings attached to a resonator box. The musical instruments made as dead include a flute, milk stand, sugar drum, and Danso. Po has a raw yellow lantern as an instrument with ingredients of a bowl, and clay is baked with soil, with Hun and Bu.Hyuk is an instrument made by covering a round barrel with leather, including Janggo, Galgo, Jwago, Jeolgo, and Sogo. The neck is made of wood and includes Bak, Chuk, Eo, etc.

There are two types of gayageum: Jeongak Gayageum and Sanjoyageum, which differ in materials, size, tone, and coordination. Jeongak Gayageum makes a resonator by digging a thick oak tree, and Sanjo Yageum makes a resonator box by adding chestnut wood board to make a resonator. Unlike standardized Western instruments, the size gradually grows and becomes smaller depending on the physical condition of the performer. Jeongak Gayageum is about 160 to 170 centimeters wide, 30 centimeters wide and 140 centimeters long.Sanjo Yageum is much smaller and lighter in length and width, but it is said that Jeongak Gayageum was reduced and modified to play folk songs at the end of the Joseon Dynasty.

The paulownia tree should be naturally dried for more than five years by roughly trimming it from 30 to 50 years old. When attaching to a tree with different top and bottom, the sides are placed on the left side, where flowers or cherry trees are used. Yongdu and Bongmi are placed at both ends of the upper plate. Yongdu is the head of the gayageum, and Bongmi is the lower part.

On April 23, 2002, Kim Bok-gon was recognized as the holder of the event.

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

Dungme refers to a place used on a bed or on a regular basis, and is sometimes used as a supplementary material. The material is a plant called Yongsucho, which is distinguished from Wanggol, and is widely native to rice paddies or streams and wetlands in our country. A grass having a sponge-like elastic seam inside a thin, long, cross-sectional stem; also called 'bone grass'. Currently, artisans who use this grass to make various kinds of household goods are Chochojang and Deungmejang. In addition to seats, mats, cushions, and other household items such as copper and hap, the red pepper paste and grasshopper are the master craftsmen who produce accessories.It is known that the term dungme is derived from the use of thimble and the addition of a buoy to the back for elasticity.

The curtain of the cart used the zodiac sign for the Three Kingdoms Period.There is a record of " and <Intuition조 had a government office called Seokjeon, indicating that there was a craftsman who had been professionally making the position.

In Goryeo, the emissaries of Huto and Hujik, who were Sajiksin, were laid on the throne, while the royal family used the stone, stone, and stone of the gate, stone, and stone of the flower gate. Buksong's envoy Seo Geung is very soft in "The Goryeo Sutra" (the product of Goryeo) and does not go bad even when folded or bent. It is excellent that black and white mixes together to form patterns and cover the bed.It was of such excellent quality that it was called " that it was also used as a trade product with a foreign country.

During the Joseon Dynasty, there were seals and stone seals at the <Gyeongguk Daejeon전 factory, with eight seals in Jangheung High School and a total of 338 foreign factories in Hasam Island alone. When the governor was dispatched to China, it was an excellent specialty, as many as 124 Hwamunseok at once. Wanggol products such as Animation Stone, Cartoon Stone, Cartoon Stone, Yongmun Stone, Hwamun Stone, Japchae Moon Stone, and Chaehwaseok were used by the royal court and upper class.

It is said that the dungme was divided into a white stone and a patterned hwamunjang. After putting a blade on the mat frame, it is Baekseok who scores a goal with a needle between the days and squeezes it into the body twice, left and right.A pattern is placed on a white stone and a blank space is used as an inner space to support the fossil, while the edges are decorated with blue, black, purple, and brown cloth according to the color of the pattern on the background.

The types of patterns include characters such as Subokgangnyeong, geometries, and flower designs, most of which are surrounded by a border and have central patterns in the center. Various colored water plants are needed to insert the pattern. White is used by trimming and trimming Maeryeongcho, and is the basic color along with blue, red, black, and back. In recent years, various colors, which are frequently used, are used by dyeing water plants directly, but water plants are difficult to dye compared to fabric. There is a way to expose or hide the slope when making a seat, and the front one is called Nogyeongsojik and the back one is called Nogyeong Secretly. Naturally, it was considered to be excellent due to its meticulous workmanship and high density.

Choi Heon-yeol was recognized as the holder on April 23, 2002 and became the honorary holder on August 10, 2017.

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

The gat is divided into gatyangtae and gatyangtae, which refers to the wide floor area around the gat, also known as 'yangtae' and 'gatyang' in Jeju. The ingredients of the gat-yang-tae are bamboo. Highly distributed varieties mean the best of the varieties, and their quality depends on the number of 'rice' and 'stuff' and the number of 'dori' and the number of 'dori'. The product is made with 500 rice and 90 dori.

Onggijang refers to the skill of making earthenware pots and jars, or to an artisan with such a skill. Koreans have used earthenware pots and jars for thousands of years. The place where an earthenware artisan worked was called Onggijeom, which was divided into a workshop and a kiln.

Traditional pots and jars, along with porcelain items, were the main items produced in private kilns. Pots and jars were made after the application of caustic soda to the surface of clay-made objects and putting them through a pre-firing stage. Just 40 or 50 years ago, there were many places selling Traditional pots and jars across the country. Their number stood at about 500 when surveys were made in 1968 and 1969. However, they have been pushed aside by their machine-made western cousins.

Traditionally, caustic soda was used as glazing in the production of pots and jars. Recently, it was replaced by a lead oxide named Gwangmyeongdan. With the use of lead glazing, the quality of pots and jars declined and the number of Onggijeom decreased to about 250 by 1984 and to less than 199 by 1989. Stainless steel and plastic goods have pushed Traditional pots and jars out of the market.

○ Lee Hee-ok, the owner of the wooden sculpture, has been working as a sculptor for more than 40 years since he entered Buddhist sculpture at the age of 15. As a sculptor, he also clearly inherits the Buddhist scriptures and the genealogy of the wooden figurines, as well as the genealogy of the late Joseon Dynasty.

○ In particular, the work was carried out based on Traditional tools and Traditional methods of production. Based on the use of Traditional tools and thorough research and understanding of Buddhist paintings, not only the Traditional method of enshrinement has been adhered to, but the function has reached a considerable level, with steady efforts to create Buddha statues suitable for the environment of newly-established temples.

And his works seem to contain not only the outward perfection of the succession of non-belief but also the sanctity of Buddhist holy treasures.

○ Lee Hee-ok, the holder of the wooden sculpture, is well qualified to designate and recognize Busan Metropolitan City-designated intangible cultural assets, including the fact that he has a clear line of law and succession, combined with systematic theories and outstanding functions on Traditional sculpting techniques, and that he inherits the tradition of Cho Gak-seung, who has been cut off since modern times.

Buddhist paintings, along with Buddhist pagodas and statues, can be classified as objects of Buddhist faith, and according to their production form, they can be classified as tanghwa, vulcanization, and mural paintings. In particular, the tanghwa is enshrined as a major object of worship after undergoing religious rituals such as costume and burial rituals. Tanghwa, which is handed down to Korean Traditional temples, is the main source of Buddhist paintings, and the craftsmen in charge of Buddhist paintings were called Geum-eo, Hwaseung, Hwasa, and Hwawon.

In the meantime, the function of making a Buddhist painting has been passed down by the owner of Dancheong, but considering the characteristics of the items, it was separated into a single item and designated as a Buddhist cremation site.

Kim Jong-seop was born in Taean, South Chungcheong Province, but settled in Mungyeong due to the great monk of Sabulsan Mountain and Kim Ryong-sa of Undalsan Mountain. After his settlement, he established the Gwaneum Buddhist Art Institute and has been focusing on his work.

He is well aware of the nature, contents and use of the Seonhwa production tools, and works on the basis of the Traditional fan, including the posture of Seonseung based on Buddhist doctrines, and the preparation process of Seonhwa through the meditation and performance.

Park Man-sik, the owner of Seonhwa, has a distinct lineage and lineage genealogy, and is a Seonhwaseung who has both systematic theory and performance.

In particular, it is highly regarded that the quality of the Seonhwa is actively reflected in Seonhwa through meditation and performance in the process of producing Seonhwa, and it is highly qualified to designate and recognize intangible cultural assets designated by Busan Metropolitan City, including the fact that the work is not only aesthetic perfect but also the ability to write through the Seonhwa can be freely used beyond certain boundaries.

Jangdo was a small sword that was used as a self-defense tool or as a jewelry, regardless of gender. It is called a pado because it is worn with a norigae on the waistband or on the neck of clothes, and it is said that it is a romanticism to carry around in the pocket of a long-distance person. The person who has the skill and ability to make such a jangdo is called jangdojang.

Since the Goryeo Dynasty, adult men and women carried it for self-defense, especially after the Japanese Invasion of Korea (1592) in the Joseon Dynasty, women from noble families carried it with them. Since the late Joseon Dynasty, symbolism and decorative features have been emphasized rather than practical functions as a hand knife, making it a part of the women's nori decoration, creating a variety of elaborate and colorful jangdoes.

The types of jangdo are divided into silver, ranch, and corrugated road according to the materials of the sword handle and the sheath. The shape also classifies the date, Eulja, and subscripts with chopsticks as . Monggae sword is used to have a jaw where the blade and the sheath are interlocked, and the cylindrical shape is called a flat and octagonal shape is called an octagonal sword or a prosthetic sword. A felon with a pattern on the decoration is called a felon, and a pentagon-adopted sword is called an obong-cal, or a minja-cal.

Ren Jae-chul of Jinju, Gyeongsangnam-do, is a successor of a rare folk craftsmanship due to his skill in carving Traditional patterns, especially in Eunjang-do. Thus, Gyeongsangnam-do recognizes Lim Se-chul as an intangible cultural asset and preserves his craftsmanship.