Yangpyeong bier and hoe daji are funeral rituals that are handed down in Yangdong-myeon, Yangpyeong-gun, Gyeonggi-do, ranging from a song sung by people who perform fortune-telling and consolidate their graves.

The sound of the bier is sung during the funeral process of carrying a coffin containing the body on a bier and carrying it from the house to the Jangji-dong site. On the night before the contest, the bier carries an empty bier and the bier members sing and play, which is called a "stand-up." On the morning of the birth day, after the funeral ceremony, the bier bowed twice with the bier on, and then went back and forth three times singing a long bier, which is said to be "fit their feet." When the bier went out, he used the drum along with the trick. When the seonsor shakes the knack and picks up the sound, the drummer plays the drum and follows. When a bier leaves the house, it sings a long bier sound, "Eogeum-cha-sori," and when it goes fast, it sings a voluntary bier-sori, "Eo-hwa-sori." In this area, bier was said to have sounded long when climbing steep mountain paths or crossing narrow single-wood bridges.

When the bier arrives at the burial site, it digs into Gwangjung , a hole where the body can be buried, and goes down the hall. After that, he poured soil and sashimi and did hoe-daji three times, which is said to be "hardening up the three senses." The sound called in this process is the sound of a hoedaji.

They sing long dalgoo sounds, followed by voluntary dalgoo sounds. The long hoedaji sound is hit by the slow Gutgeori rhythm and the back sound is received as Voluntary dalgu sound is given to the rhythm of Jajan Gutgeori and the back sound is given to the rhythm of Jajan Gutgeori. At the third end, the song ends with a song titled "The Bird Chasing" in a Menaritorian tune on the Jajin Gutgeori rhythm.

Yangpyeong's bier and hoe-da-ji sound is meaningful in that it reveals the characteristics of the eastern part of Gyeonggi Province. Yangpyeong Bier and Hoedaji Sori Preservation Society is formed, and since the death of Choi Won-san, the artistic owner, Choi Bong-ju, the head of the conservation committee, is currently working on various events and competitions to win the victory.

Celadon ware refers to a person or technique that makes Goryeo porcelain represented by celadon. Although celadon, which is referred to as Goryeo monument, has been cut off in the course of time, efforts to find Goryeo monument continue. Gangjin and Buan, which are centered around Gwangju, have a reputation for their celadon pieces.

The production process is Zeto and plastic surgery.Go through the process of sculpture, poetry, plasticity, etc. The clay process breaks stones into powder and mixes the soil. In the case of celadon, the coarse and bad clay and white clay are mixed in a ratio of 7:3. After mixing them, they go through a defensive process to remove impurities, and then they build up the clay. After the molding is over, place the crushed soil on a spinning wheel to form an object. After the molding, dry it and carve the pattern with a knife. They then grill the first batch, apply glaze, and then roast the chaebol. When grilled pork belly meat is done, the work is completed. The production equipment includes a spinning wheel, bat, earth gourd, cart, water leather, iron holtae, neckholtae, and electric knife.

Celadon ware was designated as an Intangible Cultural asset to protect and transfer traditional crafts that express the beauty of Korea. Cho Ki-jung, who lives in Gwangju, continues his career through the establishment of a research institute and a work exhibition.

The musical instrument, commonly known as the instrument used to play music, has been used in traditional music since the Three Kingdoms Period, and about 60 types of musical instruments have been introduced, including unique instruments from Korea, and foreign instruments imported from China, the West, and other regions. As Korea was adjacent to the northern continent, Chinese and Western music was already introduced during the Three Kingdoms Period. Especially after Silla unified the three kingdoms, Tang Dynasty music was imported.

By the Goryeo Dynasty, Song Dynasty folk music and aak were imported, and by the time of King Yejong's reign, Ahak was introduced, and it still came in large quantities. These instruments were classified according to the main ingredients needed to make musical instruments in "Jeungbo Munheongo," and in particular, the musical instruments used for the unique traditional music, as well as the instruments used for Ahak and Dangak.

By the Japanese invasion, national sovereignty was lost and court musicians became free men. Of course, unlike the heads of government-affiliated musical instruments who made Jeongak-centered instruments, Sanjo-centered instruments were being produced in the private sector. This sanjo instrument can be said to be for individual performance, making it more cheerful and easier to transport than a group-oriented Jeongak instrument. During the Japanese Colonial Period, Kim Myeong-chil was named in Jeonju, and Kim Boong-gi (Kim Hak-gi) was named in Jeongeup.

After Korea's liberation from Japan's colonial rule, Kim Myeong-chil's technique was followed by his son Kim Gwang-ju, who became the No. 42 instrument master in 1971. He moved to Seoul to teach Choi Tae-gwi, Go Heung-gon, and Lee Young-soo before passing away in April 1984. Originally, Yi Yeongsu was designated as a Cultural asset of Jeollabuk-do with the functions of Kim Bungi in Jeongeup, but he also received the functions of Kim Gwang-ju.

The musical instrument director originally thought he would make all instruments, but now he is divided into a drum, a jango, a gong, a gong, a jing, a salted fish, a flute, a gayageum, a geomungo, and a haegeum.

Song Gwang-mu (1911-1998), who was born in 1954 in Unsu-dong, Gwangsan-gu, Gwangju, began studying Buddhist painting with his father, Song Bok-dong (1911-1998). In the year when it was designated as a tang crematorium, it moved from Gwangsan-gu to Hwaam-dong, Buk-gu.

He continued his tradition by learning from his father about the functions of the Buddhist temple, and conducted tanghwa, dancheong, ancestral statues, and gaegeum (re-painting the statue) at more than 100 temples across the country, including Odaesan Mountain, Baekyangsa Temple, and Seonunsa Temple. Recently, he has been working on the research of traditional Buddhist paintings through the excavation and reproduction of natural stone-colors, whose production techniques have not been handed down.

The main characteristics of his Buddhist paintings are the use of iron wire among the 18 brush strokes, the use of the side, the natural coloring used in traditional Buddhist paintings, and the use of traditional natural stoneware. Also, the difference between Gubong and Song Gwang-mu's discord is that the most distinctive feature of the Gubong picture's tanghwa is the expression of 'clouds'. Hwamaek leads to Bakseokcho→Songbokdong→Songgwangmu.

Song Kwang-moo's investigation report on fire (tang) makeup (2012)

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.

Im Seong-an was born in 1958 and was introduced to Heo Gil-ryang, a student who inherited the genealogy of Joseon Buddhist art, Geumho - Boeung - Ilseob - and Uil.

Im Seong-an took the initiative in various Buddhist temples including Gwaneumsa Temple in Masan, Anguksa Temple, Baekryeon Temple, Gimje Geumsan Temple, Guksinsa Temple, Jangsu Shingwangsa Temple, Wanju Hwaamsa Temple. Wi Volunteer Temple, Gwangju Wongwangsa Temple, Gunsan Eunjeoksa Temple, Incheon Jiseonsa Temple, and Haenam Daeheungsa Temple.

Born in Hwasun at the age of 10, Kim Hyang-soon began his career in Pansori at the age of 10 and has worked hard for 45 years to learn and play Pansori and to promote and distribute traditional Korean music through Pansori performances and education.

In his 30s, he was recognized for his musical skills and skills by winning the Jeonju Daesum Nori Pansori Masterpiece Award and the Gwangju Traditional Music Competition President's Award.

Pansori Kangsanje Simcheongga, owned by Kim Hyang-soon, is inherited by Park Yoo-jeon, Jung Jae-geun, Jung Eung-min, Sung Chang-soon and Kim Hyang-soon.

There are not many master singers in Pansori who are living in South Jeolla Province who will sing and follow the Gangsanje Simcheongga.

It is believed that Kim Hyang-soon should be recognized as the holder of pansori Kang San-je Shimcheongga for his practical skills and continuous development of pansori transmission.

Namdo has developed recipes for various foods based on various agriCultural and fishery products. In particular, food suitable for the characteristics of various rituals that people go through in their lives was determined and passed down to women.

Choe Yeong-ja passed down the functions of ritual food from Yi Yeon-chae's family and formed the Namdo Ritual Research Association. It also has a variety of cooking techniques ranging from waste bags, ritual foods, eumcheongs, early fruits, storage dishes, Korean traditional sweets, medicinal herbs, rice cakes, and traditional liquor.

Yi Ae-seop learned about his mother's cooking skills when he was young, and entered the Ulsan Kim clan, a famous family in Honam area, to display his skills in wedding food, and in bedclothes. Lee Ae-seop has exquisite skills in traditional waste bag and ibaji dishes among ritual foods in Namdo. Cultural assets of Gwangju (2010)

The term "gung market" refers to a person with the ability to make bows and arrows, and the person who makes bows is referred to as "gungjang" and "the person who makes arrows" is referred to as "mayor." On September 13, 1971, Korea designated Kim Jang-hwan as "Gung Market Important Intangible Cultural Property No. 47" and continued its tradition.

He joined his family in connection with the late Kim Jang-hwan and devoted himself to making the palace for more than 40 years. Currently, he has raised two students to produce the palace in Ansan and Gwangju, Gyeonggi Province, respectively.

☆The blue and white porcelain is a white porcelain decorated with an oxidized cobalt that turns blue when it is reproduced at a high temperature of over 1200°C.
The blue-and-white porcelain, which combines a white background and a blue pattern to represent a fresh and refined decorative beauty, began to be used in the decoration of white porcelain from the Yuan Dynasty (1279-1368) in China, and was also widely produced until Ming and Qing Dynasties.

Due to this influence, blue and white porcelain began to be made in Korea around the mid-15th century in the early Joseon Dynasty, and until the late Joseon Dynasty, it was made mainly of official pottery installed in Gwangju, Gyeonggi-do.

Sagijang Han Sang-gu, an Intangible Cultural asset of Gyeonggi-do, succeeded his grandfather Han Sang-gu and his father Han Ho-seok, who worked at the pottery testing laboratory of the Governor-General of Korea, and succeeded his three-generation family business, using traditional kilns to produce white porcelain while sticking to the white porcelain color and the blue painting techniques of the late Joseon Dynasty.

His work is very elegant, and the manufacture of earth and the use of tools are considered to be the best reproduction of traditional blue and white porcelain.

☆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.

☆Pansori is a stage art consisting of a singer, a drummer, and spectators. The one who sings makes sounds, lines(Aniri), and gestures(Balim), and the one who plays Buk according to the tune of the one leads to an exciting atmosphere.

Pansori is divided into Dongpyeon-je in the northeastern part of Jeolla-do and Seopyeon-je in the southwestern part of Jeolla-do, and Junggo-je in Gyeonggi-do and Chungcheong-do according to its regional characteristics and genealogy.

Pansori has originally twelve batangs(songs) but almost disappeared during the Japanese Colonial Period. Only five batangs of Chunhyangga, Simcheongga, Heungbooga, Sugungga, and Jeokbyeokga remain until now.

Simcheongga is one of the five pansori madangs, and Simcheong, the daughter of Simbongsa, fell into Indangsu to open her fathers eyes, but with the help of the Great Jade Emperor, she was reborn as the empress and became a filial daughter by opening her father's eyes.

Shim Chung-ga's artistic owner, Lee Im-rye, was born and raised in a family that played Korean traditional music, so she was able to develop her musical talent early on and took over the typical sound of Gangsanje, which is a type of Seopyeonje.

☆Pansori is a stage art consisting of a singer, a drummer, and spectators. The one who sings makes sounds, lines(Aniri), and gestures(Balim), and the one who plays Buk according to the tune of the one leads to an exciting atmosphere.

Pansori is divided into Dongpyeon-je in the northeastern part of Jeolla-do and Seopyeon-je in the southwestern part of Jeolla-do, and Junggo-je in Gyeonggi-do and Chungcheong-do according to its regional characteristics and genealogy.

Pansori has originally twelve batangs(songs) but almost disappeared during the Japanese Colonial Period. Only five batangs of Chunhyangga, Simcheongga, Heungbooga, Sugungga, and Jeokbyeokga remain until now.

Chunhyangga is one of the five madangs of pansori, where Lee Mong-ryong, the son of Vice Minister Namwon, broke up with Chunhyang, the daughter of Wolmae, and was imprisoned after refusing to accept official's sexual advances.

Jeong Chun-sil, the owner of the Dongpyeonje Chunhyangga entertainment show, is a singer who has a thick and rich voice, and she can see her ability to freely use the upper and lower pitches.

☆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.