Chaesangjang refers to the skill of making a basket of diverse geometric patterns with thinly cut and colored bamboo skins, or to an artisan with such a skill. Colored bamboo baskets were loved by women at the Royal Court and of the noble class since the ancient period. Toward the late Joseon Period (1392 – 1910), they became popular items even for commoners as necessary articles for marriage. They were chiefly used to contain clothes, accessories, sewing supplies, and precious items. ☆

The first thing to do in making a bamboo basket is to peel off the bamboo skin in even thickness. The skin thus peeled is soaked in water and then trimmed, dyed, and spliced. The edges and corners are wrapped with blue or black satin silk. The designs made on the surface of a bamboo basket are mostly letters or patterns associated with propitiousness.

☆Changho(traditional window) accounts for a very high proportion of Korean architecture. In particular, most of the walls of palaces are treated with changho. Therefore, Korean changho is an important factor in determining architectural designs, and they are of many types and sizes, requiring advanced techniques and techniques.
Therefore, to make traditional Korean windows, skilled Craftsmen(changho-jang) with many years of experience are required. Changho-jang is classified as a somok-jang, because somok-jangs are in charge of decorative parts while daemok-jangs are in charge of the structural parts of the building.
Changho-jang has become an essential part of increasing perfection with its delicacy.

Lee Jong-han, the holder, has been engaged in changho production since 1963, and is recognized as having related functions by participating in repairing changho's of many historical sites' including the Hapcheon Haeinsa Temple, Yecheon Yongmunsa Temple.

The value of protection is high, such as the fact that there are only a few windows nationwide that produce windows essential to traditional architecture and that the foundation for transmission is relatively difficult due to low profitability.

Okjang refers to the skill of jade carving or an artisan with such a skill. Jade, set in gold and silver, was a favorite gemstone for Asians. Jade was used as an accessory symbolizing the five virtues, courage, benevolence, wisdom, rectitude and honesty. It was also used to make ceremonial utensils, hanging accessories indicating the wearer’s social status, okgyeong (jade chimes), medicinal materials, and medical tools.

The use of jade as an important accessory for upper class people is testified to by the jade artifacts found at the sites dating from the Bronze Age, the curved jade, jade beads, and tubular jade unearthed from tombs of Three Kingdoms Period, and the jade waist belt of King Jinpyeong, which is said to be one of the top three treasures of Silla. In Korea (up to the Joseon Period) and China, jade artifacts could be used only by members of the Royal Family and upper class people. It was difficult to acquire jade and the government limited the number of jade artisans.

The work of jade processing, from quarrying to design, cutting, formation, detailed carving, and lustering requires careful handling and exquisite artistic skills. ☆

☆ Daegeum, which was a standard instrument for tuning all musical instruments since the Goryeo Dynasty and was widely used before the Three Kingdoms Period, is a resonant instrument and also known as Jeotdae.

The production process is to collect the raw bamboo from the root and cook it lightly on charcoal to remove the gin and tie it up so that the bamboo does not split and then marinate it in salt water for a month. Afterwards, dry enough in the shade, pierce holes, check the pitch, tie it in a strong string to prevent the instrument from bursting, and trim the shape to complete it. It is about 80cm long and has about 10 holes.

☆ Onggi is a Korean traditional craft, which has been developed since the Neolithic Age, using clay and natural ash to make earthenware at a high temperature of 1,200°C.

Onggi is a clay-baked bowl, which has numerous fine holes and passes through air and moisture, but does not pass through water molecules with thick particles. So the onggi can breathe, and the contents can be kept fresh without leaking.

This onggi-making technology developed in Ulsan in 1957 when Mr.Heo Deok-man from Yeongdeok-gun, Gyeongsangbuk-do moved to Ulsan and settled in Gosan-ri, Onyang-eup to train the younger generation. Since then, the current onggi village has been formed.

Oegosan Onggi Village is the largest onggi village in Korea. During the heyday of the 1960s, the nation's best Craftsmen gathered to achieve prosperity and continued the tradition of traditional Korean onggi.

The Ulju Oegosan Onggi Association, a functional holding organization, is a group of eight members who have been engaged in onggi production for at least 30 to 50 years, and has sufficient traditional onggi making techniques and techniques such as molding traditional onggi (feet) spinning, making and simulating traditional glaze, and traditional oysters.

☆Sagi is often a relative concept of pottery that does not glaze, and refers comprehensively to glazed porcelain that has been made at temperatures above 1250°C.

Sagi-jang means a master Craftsman who makes porcelain, such as white porcelain, celadon, and buncheongsagi ware(a grayish-blue-powdered celadon).

During the Joseon Dynasty, 360 Sagijangs belonged to Saongwon, which was in charge of royal meals, and were in charge of producing royal white porcelain at the official residence in Gwangju, Gyeonggi-do.

White porcelain is represented by the use of white clay, which is low in iron oxide, and the reproduction at high temperatures by sampling a high-resolution glaze of feldspar series.

Sagijang Seo Kwang-soo met with artisan Ji Soon-taek in the early 1960s and began to learn pottery techniques for 25 years.

He started to run Handoyo in 1986 and has been working until now. He was designated as the 14th Master of the Republic of Korea in 2003 and the Gyeonggi-do Intangible Cultural Property (White porcelain) in 2005.

He uses a traditional firewood klin to create a variety of white porcelain works, including moon jars, which are evaluated to have perfectly embodied the milky-white color of Joseon white porcelain.

☆ Seokjang is a master Craftsman who produces stone objects, and the statues, stone pagodas, and stone bridges that remain mostly in temples and palaces are their works. Various stone cultural assets from the Three Kingdoms Period to the present have been handed down, indicating that Korea's stone-making technology has reached a significant level.

It is said to be 'Chinese bricks, Japanese trees, and Korean stones' when comparing the arts of the three Eastern countries. In Korea, where high-quality stone was produced in various places, stone art developed and Buddhism flourished, creating Buddhist sculptures that carved stones into the shape of Buddha. As a result, Seokgong(artisan) became an icon of Korean traditional culture, and Seokbul(Budda statue made of stone) and Seoktap(stone towers) were established as representative Korean cultural heritages.

Park Chan-bong, the owner of the stone sculpture of an intangible cultural asset in Gyeonggi Province, is the artisan of this stone statue. He began his career in stone work in the late 1960s when he met with Kwon Jeong-hwan, a great teacher of Korean Buddhist sculpture, who visited the site in search of a good stone while working at a stone factory in Masan for seven years. During that time, he participated in the production of the Seawater Glow Award at Naksan Temple in Yangyang. Later, in 1981, the largest single stone in the country was built in Paju Bogwangsa Daebul, which is 9m high.

He is a natural master of skill. Park Chan-soo, the holder of an important intangible cultural asset No. 108 wooden sculpture, was born into his family with outstanding qualities as an artist. Also, the beauty of the statue he created is widely regarded as one of the best works of a sculptor of the current stone Buddha statues. His works include the Three-story Stone Pagoda and Yaksa Buddha Statue at Donghwa Temple in Daegu, as well as more than 100 of the most representative Buddhist temples in Korea, including Tongdosa Temple in Yangsan, Donghwa Temple in Daegu, and Bomun Temple in Ganghwa.

☆ Gold and silver are Craftsmen who make beautiful ornaments by melting gold and silver. Since the Three Kingdoms Period, gold and silver Craftsmanship was greatly developed, and during the Goryeo Dynasty, this technique was applied to bronze to leave outstanding artifacts.

The anti-aircraft room made relatively large bowls, including pots, fresh furnaces, spoons and tobacco hacks, and women's props such as vandi, binyeo, norigae, bell, needle house and combing were mainly made in the workshop.

Gold and silver work is the work of training gold and silver with a high heat of 950°C. When the silver cools and hardens, heat it again to soften it and hammer it. Once the necessary thickness of silver is made, the desired design is made. Silver is a bright gray color, but it can produce a variety of colors when treated with medicine. If you decorate it with gold foil, it gives off a whole new charm.

Owner Lee Hyo-jun has been running a workshop in Hwajeon-dong, Goyang since 1988. He has been trained in traditional manufacturing techniques and has continued his golden Craftsmanship. In some cases, only one metal is used, but in many cases alloys are used to enhance the mechanical properties of metal materials or to produce aesthetic effects. It is obtained from nature, such as grass leaves and leaves, which are commonly encountered around it.

Many artifacts, including gold and silver, gold, silver, gold, gold, gold, gold, earrings, necklaces, binyeo, and backrests, are being made into cultural assets beyond simple ornaments.

The holder is a Craftsman who keeps the traditional techniques of Korea in the field of Craftsmanship. In particular, the traditional patterns are expressed in great detail in his works, and the characteristics of the patterns are well illustrated. For this reason, he has been praised for his excellent portrayal of the most Korean style and sentiment in gold and silver.

☆Cheongjajang is a person or skill that makes celadon. The celadon production process is very complex and requires sincerity and precision, and most of them go through similar processes such as soil mulch removing, figuration, sculpture, decoration, bisque firing, glaze, and roast twice. It takes between 24 and 25 steps in 60 to 70 days to become a complete product.

And in order to reproduce the mysterious color of celadon, the three elements of fire, clay, and glaze must be harmonized, and there are a lot of difficulties in production because they cause changes in the action of fire and weather conditions in the kiln.

Lee Yong-hui is a native of Gangjin, born and raised in Sadang-ri, Daegu-myeon, Gangjin-gun, the center of Goryeo celadon production, and is a Craftsman who reproduces Goryeo celadon technology by honing its functions in the atmosphere of making pottery of history and tradition. He participated in the protection and management of the gist area since 1964, and since 1977 when he participated in the project under the guidance of early definition, he has served as the R&D director of Gangjin Cheongja Reproduction Office since 1985 and contributed to enhancing the status of Gangjin Cheongja.

In addition, it has been recognized for its ability to win prizes in numerous craft competitions, and has trained a lot of human resources, and has also conducted research on the development of celadon wrappers and research on the characteristics of celadon glaze.

Gangjin is responsible for fostering the culture and tourism industry in the region by operating the Cheongja Recycling Office, which is an important business, and Lee Yong-hee has not only individual skills but also competence as a conductor of celadon production produced by specialization and division of labor.

☆Daemokjang refers to a carpenter who has traditional Korean wooden architecture, especially traditional woodworking techniques. Their range of activities extends from maintenance, restoration and reconstruction of Hanok(house) or historical wooden buildings such as palaces and temples.

Daemokjang is responsible for the overall process of planning, designing, and constructing buildings, as well as managing and supervising other carpenters. The wooden structures completed by Daemokjang are all elegant, concise, and simple, which is a unique characteristic of traditional Korean architecture.

Traditional Korean construction processes require a aesthetic sense to select, cut, and shape wood to be used as building materials, along with the technical ability to design buildings according to their size, location, and use, and to create so-called 'thousand-year joint' without using nails.

Park Yeong-gon (55, Daemokjang No. 718), a master Craftsman of cultural heritage, is designated as an intangible cultural asset and also called Dopyeonsu.

Dopyeonsu refers to a master Craftsman's Craftsmanship that includes the basic framework of a building, trims timber, and supervises the overall construction, and includes the scenery of life, the fascination of space, and the spirituality of culture.

☆Najeonchil-gi is a craft made from conch, abalone, shellfish, etc. on a lacquer surface, and is a representative artifact of Korean people with a well-coordinated lacquer, which boasts a colorful natural color and a subtle gloss. (Najeon=mother-of-pearl, chilgi=lacquerware)

Gwangju is known as "a three-black town" due to its high production of lacquer, ink and charcoal, and lacquerware and tools have been found in the historic site No. 375 of Sinchang-dong, proving the long history of lacquer Crafts.

Kim Ki-bok is a master of the art of making najeon(lacquer making) and aesthetic value. Born in Tongyeong, he has continued to play najeon for more than 50 years since the 16th century. He entered the Najeonchilgi Technical School in Tongyeong and received the skills and moved to Gwangju at the age of 19. In particular, he is good at 'dry' technique, which is a technique for drying lacquer.

Hwahyejang refers to a Craftsman skilled in the art of making traditional Korean shoes. It is a compound word consisting of “hwajang,” a person who made hwa (long-necked shoes), and “hyejang,” a person who made hye, or shoes that did not cover the ankles.

According to Gyeongguk daejeon (National Code) published in the Joseon Dynasty, the demand for shoes was so high that there were 16 hwajang and 14 hyejang affiliated with the central government office. This record also shows the separation of the two specialties.

Hye are made by pasting several layers of cotton or ramie cloth onto the cotton lining and covering them with silk to make the outer rim. This is then sewn onto the sole made of leather. It is important to maintain balance to prevent the tip of the shoes from twisting. The shoes were finished off by shaping them with wooden lasts.

Since traditional shoes were mostly made of leather, their manufacture involved numerous different processes and consequently called for a high level of skill. Many records from the Joseon Dynasty mention shoe Craftsmen and shoe-related matters, giving us an idea of life at that time. For this reason, the art of shoe making is historically important and worthy of academic study.☆

Jangdojang refers to the skill of making decorative daggers, or to an artisan with such a skill. Since the Goryeo Period (877 – 1394), people, men and women alike, carried jangdo (ornamental knife) to protect themselves or as an accessory. Following the Japanese invasion of Korea (1592 – 1598) women of noble families regarded jangdo as an essential item to be carried by them to protect themselves. Toward the late Joseon Period (1392 –1910), jangdo became a luxury accessory.

Jangdo was made of gold, silver or white jade. Scholars liked to carry jangdo displaying their favorite phrase inscribed with a heated iron. Jangdo were mainly made in Seoul, Ulsan, Yeongju, and Namwon. Those made in Gwangyang, Jeollanam-do are known for their uniquely Korean gracefulness. Jangdo made of diverse materials display also the diverse handicraft techniques of the Joseon Period.☆

Akgijang refers to the skill of making instruments used to play the country’s traditional music or to an artisan with such a skill. It is presumed on the basis of murals dating from the Goguryeo Period displaying wind, string, and percussion instruments that such artisans existed during the Three Kingdoms Period (57 BC – 668 AD). During the Joseon Period (1392 – 1910), musical instruments required by the government were made at an independent institution named Akgijoseongcheong (the Office of Production of Musical Instruments) within the Royal Court.

The number of types of the country’s traditional musical instruments comes to 60 – 70. Gayageum (twelve-stringed zither) and geomungo (six-stringed zither) are the leading ones, followed by ajaeng (seven-stringed zither), daejaeng (fifteen-stringed zither), and hogeum (two-stringed fiddle). Wagonghu (harp), sugonghu (vertical harp), dangbipa (four-stringed Chinese mandolin), hyangbipa (Korean mandolin), yanggeum (dulcimer), geumgwasul are produced, but rarely used.

Generally, the sounding board of a string instrument is made of Paulownia wood. The bottom board is made of chestnut and pine wood. The wood of the jujube tree, ebony, and Chinese juniper tree is used to make pieces decorating instruments. Paulownia, in addition to being rot resistant, has good resonance properties and does not crack during drying.

Akgijang is protected through designation as important intangible cultural heritage. Buk (drum) making skills were integrated into Akgijang in March 1995.☆

☆"Bal" means a shade made of thread woven from reeds or slender bamboo that is used to cover the sun on a summer day or interior decoration by hanging. "Jukryum" refers to a "dae-bal" that is woven with a string or thread.

The production process is to store the collected two to three years old bamboo and dry it in the shade to ensure its purity, and then to produce it in the order of cutting, shaving, grinding, and weaving.

Some of them are woven with patterns on the edges of the lines. Some of them are decorated with patterns of Ssanghui(喜喜) or life(壽) or luck(福); 卍 pattern around them. Outer corners are sometimes decorated with navy blue lines.

It is said that the original production site of Jukryum was Damyang. Currently, Park Seong-chun, the holder of the bamboo screen function, continues his Craftsmanship of making traditional Damyang bamboo.