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.

Buddhist paintings are an important area of Buddhist art that is subject to worship at Buddhist temples along with Buddhist statues. After the introduction of Buddhism, Korean Buddhist paintings developed greatly in the form of murals and tangs. Especially during the Goryeo Dynasty, they were recognized as the highest-quality works in East Asia. A Tang painter is a person who paints Buddhist worldviews, such as portraits or scriptures of Buddha or Bodhisattva, which are common in temples. Along with the detailed description, the tanghwa is called a task that is almost a performance as it also requires careful attention to the use of colors.

Lee Sam-yeol was born in 1945 and was taught Korean Buddhist paintings by Kim Il-seop. He participated in the construction of Dancheong and Buddhist paintings in major temples across the country, including Geumjeongsa Temple in Busan, Gimje Geumsan Temple, Gyeongju Bulguksa Temple, Seoul Haknimsa Temple, Busan Seonamsa Temple, Yesan Sudeoksa Temple, Jeongeup Naejangsa Temple, Gochang Seonunsa Temple, Muju Anguk Temple, and Wanju Bongseo Temple.

Lee Sam-yeol faithfully inherits and creates the sketches from Kim Il-seop, and his character's expressive ability is outstanding, and his overall work is excellent, including writing and coloring.

Iksan Seongdang Port Village is located on the west side of the Geumgang River. It was once called Seongdangpo or Seongpo, which was the site of a cathedral window that controlled Segok from Goryeo to the late Joseon Dynasty. Visitors can feel relaxed while learning about murals, Hwangpo Sailboat, and the ecology of the Geumgang River, which reflect the history of the traditional port village.

In Seongdang Port Village, there is a Pogu Travel Program where you can experience the life of fishermen through the history of Pogu, the course of sailing along the Geumgang River, Hwangpo sailboat riding, taking pictures of Pogu, and drawing pictures of Pogu, and the Geumgang Ecological Exploration Program where you can experience life in Pogu, where the hardships and joys of the life are buried, and sorrows of the Geumgang. Especially, in the village of Seongdang-gu, Iksan-si, the habitat of Goran-cho, a rare protected plant, is located, giving you a new experience.

[Park Gye-ho]
- Beginning in 1986 and making Hapjukseon after generation
- Entering the 29th National Crafts Competition in 1999
- 2014 U.S. President's State Visit Gift Production and Demonstration of Palace Museum Production
- Entry to the 42nd Korean War Victory Crafts Competition in 2017

"Seonjajang" refers to a craftsman who has the skill and function of making traditional fans. Our country's fans can be divided into large round shaped fans and folding and folding folding fans. Among them, Hapjukseon, the folding fan, was the most sophisticated and sophisticated fan handed down to date, and was a representative artifact of the country from the Goryeo Dynasty that was combined with najeon, metal, lacquer, and jade crafts.

Hapjuk is made by attaching the outer and outer edges of bamboo. It is known to have been first produced in Damyang, South Jeolla Province, the main producer of bamboo during the Goryeo Dynasty. During the Joseon Dynasty, Hapjukseon was mainly produced by artisans of government offices called Seonjacheng in Jeonju, where Jeolla Gamyeong was located, and was also used for diplomacy and foreign trade.

Buncheong celadon is short for "Bunjanghoe celadon," which is characterized by applying the surface of the bowl with white clay and then using various techniques. It was produced in the early Joseon Dynasty with the origin of inlaid celadon at the end of the Goryeo Dynasty. In particular, in the reign of King Sejong, the painting division was at its peak and was donated as a government official, and was used in the royal family and government offices, and various decorative techniques were featured in each region.

However, as the production of white porcelain began in earnest in Gwangju, Gyeonggi-do, in the late 15th century, Buncheong ware gradually declined, and was rarely produced from the late 16th century.

The decorating technique used in buncheong ware is greatly inlaid.printing, foresight, and gourd paperIron, gwiyal, and dumbung are typical, showing characteristics according to timing and region. Up until the early 15th century, inlaid buncheong, which inherited the techniques and characteristics of inlaid celadon at the end of the Goryeo Dynasty, was mainly made, but in the mid-15th century, inlaid buncheong, which was painted with a seal applied to the entire surface of the inlaid painting technique from the end of the Goryeo Dynasty, inlaid with white clay, was very popular.

In the late 15th century, the incineration technique, which deeply engraved patterns on the surface of white clay, and the stripping technique, which scratched the background after pre-disting the patterns on the surface of the white clay, were produced in Jeolla-do, and the iron painting technique, which was expressed in a brush with iron oxide pigment, were produced in Chungcheong-do, respectively. Gwiyal and Dumbung techniques, which were applied with white clay brush or dipped in white clay to make up the entire surface, showed the tendency of white porcelain and were mainly produced from the late 15th to the early 16th century.

Park Sang-jin, a swindler of Gyeonggi-do Intangible Cultural Property Buncheongsagi, entered Ji Soon-taek's "Goryeo Doyo" (currently Ji Soon Taek-yo) in 1971 and mastered the art of Buncheongsagi for about 13 years in Park Bu-won's "Do Won-yo" from 1974. In 1987, Gaecheonyo was established independently and continued to produce buncheong ware. In 2011, it was designated as Gyeonggi-do Intangible Cultural Property Buncheonggijang. Along with a variety of works based on the techniques and characteristics of traditional buncheong ware, the company is also trying to work on modern-day buncheong ware, which boldly transformed the branching method.

Sijo is known to have originated in the mid-Goryeo Dynasty and is a popular style of poetry during the Joseon Dynasty.Also known as 'timely song', 'timely unit song' and 'unit song'.

Shijochang became a regional feature when the tune was created in the sijo, influenced by the orchestral music such as Geomungo, Gayageum, Daegeum, Danso, and Haegeum.

Wanje of Jeolla-do and Yeongje of Gyeongsang-do, the economic and cultural festival of Seoul and Gyeonggi-do. It was divided into Naepoje in Chungcheong-do.

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

Sambae is also called Be, and in Chinese, it is also called Ma, Mapo, and Po. The cambes were found in the Gungsan Shell Mound in the Neolithic Age, indicating that they were used before the discovery.

During the Goryeo Dynasty, technology was developed and exported to China and was used with ramie as a means of cultural exchange. In the Joseon Dynasty, the production of sambae was slightly reduced as cotton production began.

The production process is first cultivated and harvested by growing the cedar trees, then steamed the treetops that skimmed the leaves and dried in the sun.

After splitting the three pieces of cloth, each string is extended and the length and width of the one piece of cloth determine how many rolls of thread will go in. Finally, after the process of feeding grass, we squeeze the fabric using a loom.

Since it is a rare case in the country where a village is collectively inherited by a village, it is designated and protected as an intangible cultural asset.

Naju Saetgollai refers to the work of cotton weaving or women cotton weavers in Saetgol, Naju, Jeollanam-do.

Cotton was first introduced to the country by Mun Ik-jeom toward the end of the Goryeo Period (877-1394) from the Yuan Dynasty, China. Spreading throughout the country, cotton, together with rice, came to be used as a means of exchange from the early Joseon Period (1392-1910). The Japanese imported cotton from Korea.

Cotton is produced through the following process: ginning, flattening cotton, spinning, deciding the density of warp threads, starching, and weaving. Cotton is harvested mid-August, with the first harvested batch usually the best in terms of quality.

Cotton cloth produced in Gaeseong and Jinju used to be regarded as the best in the country; now, however, that produced in Naju has replaced it as the best one in the country.

Seonjajang is the skill of making a traditional fan and a master artisan who holds such skill.

In general, Korean fans are divided into two styles: Danseon, i.e. fans with a large, rounded shape, and Jeopseon, or folding fans. Hapjukseon, a type of folding fan exhibiting a high degree of refinement and sophistication, has been one of Korea’s most representative craft products — along with other craft wares made with mother-of-pearl, metal, lacquer and jade — ever since the Goryeo Dynasty.

Hapjukseon were made mainly by artisans at the Seonjacheong, the government office responsible for making fans (located in Jeonju, where the Jeolla Provincial Office was situated during the Joseon Dynasty), and were used for diplomatic purposes and foreign trade.

Meanwhile, hapjuk were made of double slips of bamboo originating from Damyang in Jeollanam-do Province, the main production site of bamboo in Korea.

Jangdo is a small knife on the body that was used as a protection device or accessory regardless of gender, and a person with the skill of making Jangdo is called Jangdojang.

Since the Goryeo Dynasty, adult men and women have carried it for self-defense, especially since the Japanese Invasion of Korea (1592), women and women of the aristocrats have carried it to protect their purity. Since the late Joseon Dynasty, symbolism and decorativeness have been emphasized more than the actual function of a handknife, making it part of women's nori opening ceremony, and various elaborate and colorful ornaments have been made.

Among the intestines, the one you wear on your body is called a paddle, and the one you carry in your pocket is called a nando. Depending on the type of knife and sheath, there are silver, white jade, porridge, ink, odong, godmother, ivory, etc. and cylindrical, square, hexagonal, octagonal, etc.

Jangdo, which served as a guardian and decoration, has been famous for its funeral halls in Yeongju since the mid-Joseon Dynasty. Kim Il-gab is the only victor in the Yeongju region who has been handed down the traditional Jangdo production function, and in North Gyeongsang Province, Kim Il-gab is recognized as an intangible cultural asset to preserve Jangdo craft technology.

Cotton, which is made of cotton, was imported from Yuan Dynasty of China in the late Goryeo Dynasty and was mostly made up of cotton clothing from the late Goryeo Dynasty to the late Joseon Dynasty. Since the early Joseon Dynasty, it has been rapidly spreading to the extent that it serves as a currency along with rice, and was one of the major trade items sent to Japan. Moomyung is a traditional Korean fabric that is divided into Gwangmok, Oksangmok, and Western wood. In addition to the materials for clothing, it was used most often as materials for making bedclothes and other household items.

The production process is divided into wood-burning pear and harvesting, seeding and cotton-riding, cocooning, threading, cotton-flying, and cotton-making. Seedware and cotton farming are the process of removing seeds from cotton and smoothing cotton using an instrument called cottonwool. It is the process of rubbing cotton on a horseboard, and thread is pulled out using a spinning wheel, and thread is wound around the rhythm. The thickness of the thread determines how many rolls will fit in a width. After the loom and grass-eating process of tightening the cotton yarn after the cotton flying, use the loom to squeeze the cotton.

Moomyungjjjagi was designated as an intangible cultural asset to enrich the clothing of the Korean people and to protect and inherit the traditional techniques that contain the joys and sorrows of the Korean people. Baek Moon-ki, a functional holder living in Seongju-gun, North Gyeongsang Province, is continuing his career.

Bridge-walking was played on the fifteenth day of the first lunar month, and came from the religious custom that if a stream steps on the bridge as much as its age, it will not get sick on the bridge, and not only will it defeat all disasters but also bring good luck. In particular, the strong notion that foot-walking does not cause leg disease in Korea is a folk belief that the pronunciation of legs and legs is the same, and it seems to be the result of the language's playfulness. Bridge-walking is also known as dapgyo or dapgyo nori, or bridge-bending in Gangneung.

The records show that the bridge-walking play was very important to the people from noble families to the common people, and that the four gates were not closed when the bridge was played. As the number of bridges in Jangan was very small, the aristocrats were reluctant to hang out with the common people, so they told them to step on the bridge on the evening of the 14th, the day before, and the women stepped on the bridge on the evening of the 16th. In groups, people sang songs and danced to the bridge, and in the midst of the chaos, the character of the play group gradually changed and the play group was organized separately, creating a sense of entertainment. Among them, Songpa Dari Bapgi is characterized by outstanding dance moves.

Bridge-walking Nori is one of the most popular folk games in Korea since the Goryeo Dynasty, and it is a folk game that contains the feelings of life of the Korean people.

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

Hyangdangmu in Anseong refers to a traditional dance that originated from the Akga Muhak Training Center in Anseong, Gyeonggi-do. The origin of Hyangdangmu is several, including the theory that the descendants of the willow baby, a government official of the Geuknu Pavilion, which was built to commemorate the victory after the reign of King Gongmin of the Goryeo Dynasty, danced in honor of its spirit. The village ritual, dongje, Sadangpae nori, and dances performed by government officials and frauds in Anseong and Jincheon area have been performed in the area. The dancers were mainly composed of Jae-in, Gisaeng, and Min-cho, but considering the terms of dance in Chinese characters and the terms comparing the geographical names, it can be said that they joined the literati as well as the literati.

There are about 40 kinds of dances handed down from Hyangdangmu in Anseong, which are divided into masculine and feminine dances according to their personality. Thirteen types of hwarangmu, including Gyeongcheon Barye Mu, Bonghwang Geumran Mu, pray for the prosperity of the king's Mansumu River and the royal family, and Jang Gummu, Gungmu Samu, and Dosan Muryeong, are regarded as masculine hwarangmu lineage.

On the other hand, 15 kinds of dances, including Hakkwa dance, which is performed with a white towel, Hongaeksugeon dance, which expresses a woman's sorrow, and Chae Seonhyang dance, which performs various techniques and dances according to the Sanjo song with a fan, as well as Buddhist dance, Buddhist dance, and Gomyeong dance, have been handed down to the gisaengs in Anseong area.

The accompaniment music of Hyangdangmu in Anseong is divided into court music, folk music, sanjo and military music, and the dance moves are diverse and difficult. The dance content and entertainment vary depending on the status because it is a dance that has a lot of different people using martial arts.

In 1990, Hyangdangmu, which was discovered by local residents including Anseong Cultural Center, was designated as an intangible cultural asset by Yi Seok-dong and Yu Cheong-ja as an assistant administrator in 2000. Yi Seok-dong's deceased Hu Cheong-ja is serving as the chairman of the Preservation Society and is striving to succeed Anseong Hyangdangmu.

The term "instrument head" means a person who has the skills or functions of making instruments used in traditional music, such as Janggu, Buk, Danso, Gayageum, Geomungo, etc. North Jeolla Province, the birthplace of Honam Nongak, has a regional characteristic of smooth production and distribution of high-quality pungmul instruments.

Janggu is a representative rhythm instrument imported from the Song Dynasty of China during the Goryeo Dynasty and is widely used in various fields to this day. Also called jango or seyogo, it is used as a material for horse skin and cowhide.

A drum is a musical instrument that is played with leather on a wooden container and knocks it together, often collecting various pieces of pine trees to squeeze the drum and putting cowhide on both sides. Most of the pieces used in court music were nailed down, but in the private sector, more were tied with leather straps.

The Danso is a wind instrument that is made of a pole. There are five holes, one at the top and four at the front, but the fourth hole at the front is not used. The range reaches two octaves, and the tone is clear and clear. It is also used as a solo instrument, but is mainly used for ensemble with other instruments in chamber music.

Gayageum is one of the most representative stringed instruments of its kind, and the Korean alphabet in the ancient literature is called Gayageum, and it is known as Beopgeum or Pungryu Yageum, which are used in Aak or Jeongak. The gayageum has 12 strings tied to silk thread on a narrow, long rectangular wooden board, and a small column of wood that can be easily moved by supporting the rope. The tone is clear and elegant, and has a wide range of performing techniques, so it is used in both aak and folk music.

Geomungo, also known as cash, was first produced by Wang Sanak in the third to fifth centuries by improving Chinese instruments. The oldest document on how to make it is written in "The Evil Trapezius," which states that the front panel of Geomungo is made of paulownia, chestnut wood, and walnut wood. Geomungo was produced by order, the method of making was handed down to the oral tradition, and it is assumed that the level of production skill was also high because it had to satisfy the demanding needs of the scholars compared to other instruments.

As a traditional craftsmanship, Go Yi-gon is recognized as the master of the Danso, Seo Nam-gyu as the master of the drum and janggu production, Kang Shin-ha as the master of janggu production, Choi Dong-sik as the master of geomungo production, and Ko Su-hwan as the master of the gayageum production.

Embroidery has been widely used since ancient times as a means of ornament that allows colorful and free expression of patterns using simple tools of thread and needle. I sew threads of various colors on a needle and apply different techniques to make clothes.

It began naturally with the addition of decorations on top of the clothes and developed with the attire of religious or ceremonial events.

The oldest record on embroidery was written in the previous Buyeo edition of "The 30th Dong of the Three Kingdoms" which states, "The Buyeo people enjoy wearing clothes made of great gifts, great gifts, gold, and great gifts when they go abroad." 『후한서後漢書』 동이전 고

The Gurye episode recorded that "the government officials wore silk embroidered when they gathered at the meeting," and the Samguk Sagi (삼』』) recorded that fans embroidered in Silla were used as small tools, indicating that embroidery was prevalent.

During the Unified Silla Period, a ban on wearing clothes was imposed in 834 (the 9th year of King Heungdeok of the Unified Silla Dynasty), and there was also a ban related to the number of gold. The use of silk embroidered with silk was regulated on socks and shoes, and the use of silk embroidered on saddle tongs, saddle posts, and feet was prohibited. In addition, the use of embroidery bottle pungent was prohibited for bones and nutmeg. This suggests that embroidery extends not only to doubles but also to household goods.

In the Goryeo Dynasty, embroidery was newly developed. According to the records of "Goryeosa Temple," the royal court and the general library were installed to make handicrafts. In addition, the Annals of King Munjong recorded a collection of well-preserved men and women in each palace after the king's death, indicating that the king's royal seal was made to pray for the king's paradise.

During the Joseon Dynasty, there were embroidery decorations dedicated to the royal family's clothing and other articles. In addition, the system of wearing a rank badge on the front and back of the official uniforms of the civil service officers increases the demand for embroidery. The embroidery developed with distinct features, which were largely divided into Gungsu Palace and the people of Minsu. The private sector also used their spare time to produce and use embroidery decorated with water for various daily ornaments and supplies, such as Norigae, Bojagi, and Bangseok.

Born in Kanagawa Prefecture in Japan, Shin Sang-soon returned to Korea after graduating from a small school in Japan and learned embroidery from Kim Nan-choong, a teacher at Masan Girls' High School, in the 1950s. In 1971, the company set up a self-made workshop called Hwarin Workshop to bring embroidery closer to everyday life, focusing on household items. The paintings include the Hwajodo and Baekdongjado and 子子 Byeongpung, which are rich in living emotions. It also strives to collect and reproduce embroidery artifacts from the Joseon Dynasty.