Bonghwa Yugi has a long history of over 500 years and is the birthplace of organic manufacturing in Korea, which introduced organic manufacturing techniques to many craftsmen across the country.

In particular, it is said that the organic manufacturing method of Anseong was also introduced from the beacon fire. Until the early 19th century, Bonghwa Yugi's reputation was widely known throughout the country, and it was also called the "Notjumgeori." This was due to the fact that charcoal needed to melt iron was easy to produce and the abundant water in Naeseongcheon Stream was a natural location.

However, in 1919, the ban on deforestation in the Taebaek Mountain area and the change of the times at the end of the Japanese Colonial Period were not won, and only two households are maintaining their old reputation.

In other regions, facilities and tools have been modernized, and the trend of losing their old appearance, but the abandonment of the beacon fire still continues the old techniques of handcrafting.

Bonghwa Yugi has a long history of over 500 years and is the birthplace of organic manufacturing in Korea, which introduced organic manufacturing techniques to many craftsmen across the country.

In particular, it is said that the organic manufacturing method of Anseong was also introduced from the beacon fire. Until the early 19th century, Bonghwa Yugi's reputation was widely known throughout the country, and it was also called the "Notjumgeori." This was due to the fact that charcoal needed to melt iron was easy to produce and the abundant water in Naeseongcheon Stream was a natural location.

However, in 1919, the ban on deforestation in the Taebaek Mountain area and the change of the times at the end of the Japanese Colonial Period were not won, and only two households are maintaining their old reputation.

In other regions, facilities and tools have been modernized, and the trend of losing their old appearance, but the abandonment of the beacon fire still continues the old techniques of handcrafting.

The traditional arrow bamboo is made up of seven natural ingredients: bamboo, sari, escapee (peach bark), fish bridge (fish-burre grass), iron core, chi (pheasant feather), and chi (pheasant feather) and hunch. In particular, the most important materials are the hard and hard cinuddles.

The key is to increase the hit rate, which is the life of the arrow, by roasting bamboo on fire and spreading it out properly so that its straight line can be maintained for a long time.

Kim Byeong-wook, the mayor of the palace in Pohang, possesses the skills and skills of making bamboo poems, which are inherited from tradition, and continues the tradition by implementing them well.

First introduced to the wood carving in 1970, and qualified as a Cultural Property repair engineer in 1983. Since 1996, he has lived in Yeongcheon City and currently runs a Buddhist woodworking center and has been active in Buddhist sculpture and training for 40 years.

As a successor to Jeon Gi-man, a disciple of Buddhist monk Seokjeong, he focuses on Buddhist monks, statues of Buddha, and pieces of Buddhist wood, and uses natural patterns given by trees to continue the Buddhist culture.

After his father's death, he became the head of a boy's family at the age of 14 and learned pottery skills from time to time by helping his family's livelihood in the Gwaneumni Sajeomgama. Since the age of 18, Mungyeong area has been known as a well-known swindler. He became a midwife of the Mungyeong Traditional Tea Bowl Festival in 1999 as he was selected as a master of Korean traditional tea ceremony in 1995 and became known as a craftsman who continued the tradition after the war. Although exhibitions of works have been held mainly overseas, about 80 exhibitions have been held in Korea since the 1980s due to the growing interest in Korean traditional culture. The Docheon Scholarship Association was established with the proceeds from the exhibition, and most of the donations were made to community service activities.

In order to promote and promote the excellent traditional ceramic culture, various workshops are held at Mungyeong University and Korea Art High School in Icheon, Gyeonggi-do to teach the demonstration of footmills and how to make glaze. Not long ago, it registered a patent for the first time in Korea to compensate for the shortcomings of traditional mounted kilns. Thanks to his efforts to inherit and develop the traditional culture, he was awarded the Order of Korea's Dongtan Industrial Medal in 2005, and was selected as a functional Korean in 2006 and awarded the Minister of Labor's commendation. In November 2008, he was the first Korean to receive the Order of the Japanese Order of Cultural Merit, Wookil Ssangjang. In October 2018, the Hwagwan Order of Cultural Merit was awarded to those who contributed to the development of culture and arts.

Kim Si-in inherited traditional embroidery for the fifth generation in the maternal family, including his mother, and became associated with traditional embroidery because of this connection. Later, in 1966, he met Kim Gye-soon, a master of embroidery, and learned about the depth of traditional embroidery, giving him a chance to spend his entire life with embroidery. After getting married in 1970, Hongwi Traditional Embroidery Research Center was opened, where traditional embroidery was taught to housewives, and many disciples were produced.

Kim Si-in took the lead in supplying traditional embroidery culture by applying embroidery to wooden tools, and boldly deviated from the embroidery frame that was only embroidered on traditional folding screens, wall frames, and costumes. Kim Gye-soon, his teacher, taught him the essence of needle and thread, the life of embroidery. In particular, he learned the secret of applying embroidery to the needle, a special technique of Kim Gye-soon, and became a top expert in the reproduction of the keyplate, which is the most difficult of embroidery techniques since more than a decade ago.

A fraud refers to a person who has the skill of making a bowl of clay, feldspar, silice and white clay from raw materials and baking it at a high temperature of more than 1300°C.

Baek Yeong-gyu has been engaged in the fishing industry for a long time and has learned much of the traditional pottery, especially in the white porcelain section, making pottery with the characteristics of the Goryeong area.

It has been said that it was the best among the bookshelves (eating, paper, brush, and inkstone). He changed his body and left a new figure such as writing and painting.

Yoo Byung-jo is making a life-changing meal like a food that leaves traces of his body. a subtle scent of muk-hyang keeps you going for a thousand years Yoo Byung-jo, a food skill winner who wanted to resemble the heart of food for the rest of his life, has been designated as Gyeongju's food court, an Intangible Cultural asset designated by North Gyeongsang Province.

Yoo Byung-jo, who started his life at the age of 13, has a variety of traditional food production techniques and techniques, including pine soot, which is also ground into glass, mixed with glue, and soft food made from oil-burning soot. In addition, the government is making every effort to promote the transfer and development of traditional food, which is Korea's own Cultural heritage, by making efforts to foster the backward generation in order to continue the flow of food.

In the East Asian society where brush is used, traditional food making is regarded as a unique Cultural asset with high historical value and few people with its functions that require preservation.

‘unless girls dance Worwori Cheongcheong on’ distribution in the East Sea Coast area, one of the game and set up an exemplary woman. It is composed of sounds and dances, and although it is commonly called "Wolwoli Cheongcheong," it has a certain melody, such as "Saturday Song" and "Birthday Birthday Song". Although it looks like a different song dance at first glance, it is a female sex act that is synthesized between the play, such as Dalnumse, Gate Opening, Mountain Range, Dongae Tada, Jaebapgi, Sillgwimgi, and Jeokguse, in Wolwoli Cheongcheong.

Gayageum Byeongchang refers to singing while riding Gayageum.

The song is sung by adding gayageum accompaniment while picking a passage from either Danga or Pansori. In Pansori, it is also called Seokhwaje. There is a theory that Kim Changjo, the master of the Gaya Geumsanjo, began to be called in the late Joseon Dynasty.

Jinyang, Jungmori, Jungjungmori, and Jajinmori are used in Jangdan. The same melody of the gayageum and the song changes to match the principle of the gayageum, fills the space of the song with the gayageum melody, and sometimes adds to the excitement by adding the gayageum ganju.

Some of the representative songs include Gokcho, Honam, Cheongseoknyeong Pass, Jukjangmanghye, Saranga among Chunhyangga, Jebinojeonggi among Heungbo, and Gogo riverside among Sugungga.

Gayageum Byeongchang is a valuable Cultural asset that seeks pure musical beauty among traditional music.

Nongyo is a song sung by farmers to forget their fatigue and improve their efficiency from hard and busy work, also known as wild songs or farming sounds.

Yecheon Tongmyeong Nongyo is believed to have been started during the mid-Joseon Dynasty, as a farming song sung by farmers in Tongmyeong-ri, Yecheon-eup, Yecheon-gun, Gyeongsangbuk-do to relieve their hardships caused by hard labor when planting rice every year.

It consists of <Abu Reisuna나, which is sung during planting, <Sound of Help도, <Sound of Baby Maggie기, <Sound of Boss상, <Sound of Bangae Sori·, <Sound of Euyong Sori이용, and 부르는Bonghei이, which is sung on the way home from rice paddy. There are also "Samsamgi Song," "Bettle Song," and "Dohaetagi" sung by women.

Yecheon Tongmyeong Nongyo is characterized by the fact that both the sound of rice planting and rice paddies are slow, long-pull notes are written, and that when the song is held and received, the end of the front sound and the front of the back sound partially overlap, creating a dual creative effect.

Yecheon Tongmyeong Nongyo has a rural taste and simple taste, and the song and lyrics are local.

In traditional society, nongak has three main ways of existence. First, nongak related to rituals such as dangsangut or yard treading, and second, nongak related to labor and play, such as duregut played in Gimmaegi with durekun, and third, pangut related nongak.

The current "Gabbi-gocha Nongak" is a pangut-style nongak related to play, and the main theme of this song is Nongsa-gut Nori, which reproduces farming work as a play.

These farming rituals are found in parts of Gyeongsangbuk-do and Gangwon-do, and are largely characterized by the preservation of similar nongak in Ganghwa, which is far from the region.

A gong is one of the percussion instruments, also called gilt or simply gold. It is a musical instrument widely used since ancient China. It was imported from the Ming Dynasty of China during the reign of King Gongmin of Goryeo (1351-1374), and was widely used in Jongmyoak, Muak, Beopak and Nongak.

The gongs are made by melting them in a weight ratio of 160 copper and 43 cinnamon, and are produced in a group by Daejeong, Gajidaejeong, a front hawker, a reseller, a Senmae, and a puller.

The production process is the order of brass rusting, elongating, dopping, potting, wrapping, dangling, crying, Gaji, and Jaewool, which is a sensitive work that makes a completely different sound with a hammering.

Jing's life is in sound. Depending on the region, there are many different sounds, such as the buzzing, the bending, the long ringing, and the rising sound of the sound of the end. The sound of a proper gong has a deep and long afterglow and deep appeal, and this is what Kim Chun-jing's sound is characterized by.

Kim Il-woong, a holder of jingjiang functions, has been continuing Kim Chun-jing's cycle for more than 40 years by setting up a farm instrument factory in Gimcheon's Hwanggeum-dong drug bet after learning the technique under his grandfather, who has been making gongs in Hamyang for four generations.

Nongyo is a song that is sung to forget fatigue and improve efficiency while working on rice paddies and fields, also known as wild songs or farming sounds. Singing individually or collectively as one of the folk songs, the song may vary depending on the region.

Yecheon Gongcheo Nongyo was a labor song that was widely passed down around the Nakdonggang River coast. It was a remote inland village, so it was a pure folk song sung only in this village without mixing with the influx of neighboring cultures.

The contents are composed of rice planting songs, non-maggi sounds, threshing sounds, geolchae sounds, and ching chingi (Gaeji Na Ching-ching is composed of rice seedlings, rice paddies, threshing sounds, threshing sounds, etc. The song "Mosimgi" is sung by planting rice seedlings, while the sound of rice paddies is tied to rice paddies, and the threshing sound is a song sung by Tsing Chingi as she comes out of the field after rice paddies. This folk song is said to be the most primitive form.

The Yecheon Gongcheo Nongyo has been handed down with a local color and contains the sorrows and joys of farmers. Hwang Ki-seok, the art holder who lives in Pungyang-myeon, Yecheon-gun, continues his career.

Baek Gwang-hoon has passed down the Onggi manufacturing method in Yeongdeok region over a number of generations, adhering to the traditional Onggi manufacturing method, and has been making Onggi on a single road for more than 40 years. Moreover, it is the last bastion of Onggi-il in Yeongdeok, North Gyeongsang Province, where Ong-saeng was the most successful.