Onggijang Bae Yo-seop (Residence in Sinnae-dong, Jungnang-gu, 1926) is a four-generation Onggi craftsman who has continued to work as a Hanmi-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Toga (meaning the Bae family that runs beautiful Korean kiln). It was recognized as a holder on September 25, 2002 and became an honorary holder on April 13, 2017.

It is producing 'Puredog', which is baked without glaze or lye, which is classified as a high-quality onggi.

The word "pure" is the pure Korean word for "purple," and poison refers to a large bowl with a pear.

"Pure Dogg" is a bowl made with salt, one of the state-run items, and was used as a Buddhist item for Buddhist temples given to the royal family or royal family in Korea.

Bae Yo-seop's great-great-grandfather, Pyo Dae-gyeom (Francisco), joined the Catholic Church in the Chungcheong-do region, where Catholic faith first spread to Korea in the late Joseon Dynasty, and served as a lay leader in Dangjin, Chungcheong-do.

As many Onggi artisans did, they began to burn onggi in the mountains with their families to avoid the persecution of Catholicism by Heungseon Daewongun.

The martyrdom of Pyo Dong-gyeom (Francisco) in 1800 and his eldest son Bae Cheong-mo (Augustino) in 1829 while transcribing Catholic books led to the production of pottery as a family business by Bae Dae-bong, his third son.

Bae lived in Eumseong, Chungcheong-do, hiding his family's martyrdom, and learned how to make Puredog, the best onggi technique of the time.

Since then, Bae Dae-chun, the son of Bae Dae-bong, has been passed down for three generations, and Bae Bae Bae-seok, the son of Bae Dae-chun, has been handed down for four generations. The baeuiseok Japanese Icheon to the South of France and moderate damage, made a rapid demand after the onggi remote areas to production.

Bae's eldest son, Bae Yo-seop, moved from Icheon to Yeongdeungpo, Seoul, and started his family business as a fifth generation from 1942 with his father Bae Bae-seok at the recommendation of his grandmother.

In 1955, he moved to the Onggi branch in Sinnae-dong, Jungnang-gu, Seoul, and opened a Onggi Onggi restaurant called <Hanmi Yoyup> with his father, and carried out production activities while maintaining its own onggi style, mainly in Seoul and Gyeonggi Province.

When his father died in 1968, when he was 42 years old, he took the initiative in operating the workshop. In the early 1980s, he was able to produce onggi mainly in the era of increased demand for onggi during the Korean War, but in the early 1980s, his second son Bae Yeon-sik and his family business, Puredog, were re-produced.

It went through as many trials and errors as it had not been produced for a while and was designated as an Intangible Cultural asset of Seoul in recognition of its achievements.

After the relocation of the workshop to Songcheon-ri, Namyangju, Gyeonggi-do in 1992 due to the development of an apartment complex in Sinnae-dong, Jungnang-gu, Seoul, Bae Yo-seop's second son Bae Yeon-sik worked on the Puregi.

'Pure Dogi' means 'Pure' in 'Purple' and 'Pottery', which is completed at a high temperature of 1300 degrees without glaze or lye on the surface using pure yellow soil, and is further developed in materials and plasticization methods than the existing Puredogg.

It was developed as a rural housing complex around the Songcheon-ri workshop in Namyangju, Gyeonggi Province, and moved the workshop to Seosin-myeon, Hwaseong-si, Gyeonggi-do in 2009. Now Bae Yo-seop's second son Bae Yeon-sik runs the Korea-U.S. Yobae City Toga for the sixth generation, while his granddaughter Bae Eun-kyung and Bae Sae-rom, who are in charge of seven family businesses, run the Puregi Institute.

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

Dancheong refers to the act of painting buildings, sculptures, Buddhist paintings, and crafts using pigments. Therefore, the base material is diverse, including stone, clay wall, wood, iron paste, leather, and paper, and dancheong, which is most representative of which is colored by horses or wooden architecture that encompasses the concept of western painting, is painted on subsidiary materials. The role of dancheong is especially important in wooden buildings. It is painted on wood or walls of buildings to prevent other corrosion and dryness in rain, wind, and climate change to increase durability. The patterns of Dancheon vary widely depending on the type of architectural materials and the nature of the building, respectively. Dancheongjang is not just painting buildings or painting patterns, but also producing Buddhist paintings such as tangs that require painting skills.

On September 25, 2003, Yang Yong-ho was recognized as the holder of the event.

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

Piljang refers to a person or technique that makes a brush, one of

The quality of the brush is the most important, and it is said that the brush should have four virtues: chum, je, circle, and gun. This means that the brush ends must be sharp and neat, and the top of the hair is well tied with a string, and has strength even if used for a long time, so the brush hairs must rise again after making a stroke.

The materials for fur include sheep, foxes, rabbits, tigers, deer, lice, dogs, horses, pigs, and ferrets, and the brushes are often used for bamboo.

If you look at the production process, you should first straighten out the hair and then roll it up in an appropriate amount. After that, they go through the "Water End View" process, which trims the ends of their fur neatly, and then aligns with bamboo to finish.

In order to protect and transfer technology as a traditional craftsmanship, Kwon Young-jin was recognized as an Intangible Cultural asset holder on September 30, 1992, and Jeon Sang-gyu and Jung Hae-chang were recognized as holders on January 11, 2018.

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

A shipbuilding yard refers to a craftsman who makes Hansun, a traditional Korean ship. Modern ships refer to ships floating in rivers and seas around Japanese colonial era (1910), including ferries, ferry boats, night boats, and dangdu-ri.

The boats currently being built are mainly Hwangpo sailboat, amusement boat, engine boat, and Mesaeng (net boat and fishing boat). When making a boat, villagers usually work together, with two to three people on a large boat and one to two people on a small boat, depending on the type of boat, they are made over a week to a month. The characteristic of Joseon pear is that the bottom of the boat is wide, flat, and elastic so that it can go up and down the upper stream of the river, which is only knee deep.

Park Jeong-ok, who was designated as the sixth owner of the Seoul Intangible Cultural Property, died on October 6, 1994 and currently has no owner.

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

Hosang Nori, a traditional folk game in Seoul's Gangdong area, is also known as Ssangsangyeo Hosang Nori. Hosang Nori is a playful game if it is a portrait of a person who has a good family life and long life, and it is a game where singers and bier people gather the night before to sing a folk song all night long so that they can safely go on a rough road when they are on the rise.

The Hosang Nori in Rockjeol Village is led by a good singer in front of the bier by 36 biers, which are very large compared to ordinary bier carried by about 10 people. When the bier leaves the house, he sings the trick before carrying the bier, and as he leaves the house, he calls the incense burner to console his soul and honor his achievements and virtues. It is very exciting to see the bier moving forward as if it were pushed back. In the appearance, the coffin was lowered and the deceased built a tomb to build a dwelling where he would live for thousands of years. They sang various virtues and a song called Bangataryeong, which is a unique custom of rockjeol Village.

As Amsa-dong was incorporated into the Seoul Metropolitan Government in the 1960s, Hosang Nori in Rockjeol Village completely disappeared due to the development of Rockjeol Village and the wave of urbanization, but its original form was restored more than 30 years after it was cut off by meaningful people.

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

Since the Joseon Dynasty, the tradition and customs of the Korean people have been established, and it was a typical trend of leap month in Seoul.

According to Hong Seok-mo's Dongguk Sesigi, "Yundal custom" is believed to have led Jang's women to visit the temple and offer money to the temple, and from heaven." The contents of Dongguk Sesigi appear to have witnessed and recorded in person the life and death of a Buddhist temple in Seoul.

Even during the Joseon Dynasty, when Confucian culture prevailed, temples around the capital city continued to inherit the tradition of Buddhist rites. The temples in Seoul continued to develop these historical and Cultural foundations to maintain the reputation of the temple and to establish itself as a seasonal custom of Korean traditional culture.

Seoul's Jesus is worth preserving as an Intangible Cultural asset of the Seoul Metropolitan Government, given that it is a representative Intangible Heritage used in Seoul, and that it retains the original form of Jesus, which was seen at the time of the seventh anniversary, after completing the six-year-old ritual ceremony to suit.

Seoul's "Survival Jesus" will be designated as a group without a holder in that it is an Intangible Heritage handed down through an organization.

Pansori Gobeob was born after the mid-Joseon Dynasty when Pansori was settled, and the drummer (the drummer) accompanies Pansori to the north.

Since the ancient law was an accompaniment of pansori, it was not often used to promote the master, so it was very rare to see famous master singers during the Joseon Dynasty. In addition, the development of classical music was minimal as it was regarded as a means of Pansori classes. In the late Joseon Dynasty, pansori developed with a wide variety of characteristics, but it was not until the end of the 19th century that professional masters came out to develop the classical music.

There are many theories in pansori-go method, but it can be largely divided into posture theory, breakdown theory, and acting theory. Posture theory puts the drum in front of the left side of the singer and sits facing the singer. The drum pulls to the left, puts its left thumb on the left side of the drum, and hits the left side of the barrel. Hold the drumstick in your right hand and put it on your lap, and hit it to the sound, but do not go up from left to right and above your head to head. Gojang theory is that a drummer beats the rhythm according to the sound of a singer, and plays the beginning of the syllable and the flow of the melody by hitting the drum and leather using his hands and chae. The theory of acting allows the master to accept the sound (chang) and the aniri (horse) as the opposite of the singer, and depending on the sound, the sound of the singer naturally connects with the sound, adding excitement to the sound, filling the gap in the sound of the singer's sound.

Jeong Hwa-young and Song Won-jo are recognized as the holders of Pansori High School Act entertainment.

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

Somokjang refers to a carpenter who has the skills and functions of making wooden 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.

The name "small ranch" appeared from the Goryeo Dynasty, and it was called "ranch" during the Joseon Dynasty, but it seems to have been distinguished from the main sections. Until the early Joseon Dynasty, wooden furniture was mainly made for the royal family and the upper class, but during the late Joseon Dynasty, it was widely distributed to the private sector and was highly diversified, resulting in significant regional characteristics.

For example, in the southern part of the country, wooden ornaments were used as a precious feature of the tree and were not coated with lacquer. Tongyeong is a typical example. The wardrobe in Hwasun, South Jeolla Province, combines both patterns, lacquer and decorations, and features a black tree. As such, the purpose of the wooden furniture is to maximize the wood texture of wood and pursue natural beauty. Therefore, small wooden furniture was made based on the form, standard, technique, and pattern of traditional furniture.

Function holders Kim Chang-sik and Shim Yong-sik are continuing the trend.

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

Dodangje is a representative branch of village belief that is passed down around Seoul and Gyeonggi-do. Although the detailed religious form and ritual procedures of the Dodang system vary depending on the region, the commonality can be found in the structural aspect of bringing the village god back to Jejang. Samgaksan Dodangje also has a structure in which a dokdang father and a dokdang grandmother are enshrined and sent back after a ritual.

It is a stock without a holder, and on November 4, 2010, the Triangle Sandodang Preservation Society was recognized as a holding organization.

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

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.

Korean crowns have been produced and developed in Korean folk life since prehistoric times, especially Hwagwan and Jokdu-ri were developed as crowns for women's hair decoration before the Three Kingdoms Period, and were handed down as relics from the Joseon Dynasty. Due to the loss of economic value, it is not easy to inherit as a single item of tubular hair, so preservation as an Intangible Cultural asset is essential in Seoul.

On November 16, 2017, the Gwanmojang was designated as Seoul Intangible Cultural Property No. 50, and Park Seong-ho was recognized as the holder of the Gwanmojang.

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

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

There is a theory that the name "Maddle" originated from the Korean word "Maddeul" in Sanggye-dong, which was raised by releasing horses in fields, and that this area originated from the pure Korean word "Maddeul." The contents include the sound of planting rice and the sound of rice paddies. The sound of non-maegi is composed of the sound of the durucha when first tied with a ho-mi, the water parsley when tied with two layers, and the sound of the kkeokumjo, which is sung excitedly in the evening at the end of the day. In addition, Bangataryeong, Nennell Sangsadiya, and Ouya-ddeul-ddeul-ddeul-dda are sometimes called.

In Gangwon-do, where there are far more fields than rice paddies, the sound of rice planting or field farming was called Menari, which was spread through Pocheon, Gyeonggi-do, and a different style of folk song was formed. Therefore, Madeul Nongyo is a folk song that has been influenced by agriCultural songs in Gangwon-do based on agriCultural songs in Gyeonggi-do, and should be inherited well even in the current area, which consists of apartment complexes.

On December 7, 1999, Kim Wan-su was recognized as the holder, and the holding organization was the Madeul Nongyo Preservation Association.

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

Darye is a rite of courtesy to give tea to a person or a Buddhist monk, and although it is a royal tea ceremony, it is a tea ceremony for oil prices, impossibility, and family members.

It is not known exactly when tea, also written as Myeong or Cheon, began to be consumed as a drink.In The History of the Three Kingdoms, the tea was from Queen Seondeok.A record of ' indicates that he drank tea at least in the 7th century.

In addition, in 828 (the third year of King Heungdeok's reign), " Chinese tea tree seeds were brought in and planted on Mount Jiri to meet the growing demand.There's a record of ."In <The History of the Three Kingdoms>, a tea ceremony was held at the Jongmyo Shrine of Gaya during the reign of King Munmu of Silla in 661, along with rice cakes and fruits.The record of " shows that he drank as a symbol.

The royal tea ceremony of the Goryeo Dynasty was held during the royal ceremony of Taehu, Taeja's Book Peak, Wonja's Birth, and Taeja's Birthday. The record of tea served by the princess when she was married is shown in "Goryosa".

The royal tea ceremonies and royal tea ceremonies of the Joseon Dynasty can be divided into the tea ceremonies for envoys and royal families. Hwagang was a lecture on scripture and fraud by gathering the management and empty guests of the teacher and Si Gangwon, and the records of his tea ceremony are shown in the Annals of King Sejong. The ceremony was held in Taepyeonggwan, Sajeongjeon, Injeongjeon, and Myeongnyundang until King Gojong's reign, in which the king or prince served tea to Chinese envoys.

A brief introduction to the procedures of Kim Eui-jeong's private reception is as follows.

The king's chair shall be installed on the west wall, the envoy's chair shall be installed facing west on the east wall, and the north side shall be installed on the north wall.The king and the envoy take their seats after the town.One person to remove the sandal is to stand on the west side, while another person is to stand on the west side with a tray of tea and tea.The two saon remove a tray of fruit, one facing south to the right of the Jeongsa Temple, and one facing north to the left of the adverb.

The manufacturer stands facing north on the right side of the king with a tray of fruit, and when the king takes a cup of tea and removes it, he follows the tea and sits down and raises it to the king, the king rises up from the chair, stands up a little, and stands up a little, and the Sashindo stands up a little, and stands a little forward. The king takes a cup of tea and goes to Jeongsa Temple and hands the tea. A political affairs officer receives a bell and gives it to a Tong temporarily. The manufacturer takes the tea with a teacup again and hands it to the vice president.When an adverb receives a teacup, he retreats a little bit, and the manufacturer picks up the tea with the cup and puts it on the official, and Jeong-sa holds the teacup and goes out to the king and raises the tea. At this time, the manufacturing industry moves westward and kneels north.

When the king holds the teacup, the Tong puts the teacup on the Zheng and the King sits on the chair and drinks tea. He goes before the king of the making and knelt down, receives a cup of tea, and leaves it on a tea tray. For the removal of the Monk stands and puts fruit on the envoy, and the Emperor kneels down and puts the king's fruit on the table. When I'm done, I'll take the tray out.

The tools used in royal tea ceremonies include 湯罐 (a kettle for boiling tea), 茶罐 (a kettle for brewing tea), 茶罐 (a bowl for cooling water), tea cups, cup stands, , (a bowl for cooling water), teaspoons, tea pots, tea towels, tea bottles, and water pumps.

On December 20, 2001 been recognition of activity as holder of the gimuijeong.

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

Jeongak refers to music played in a court, Government office, or a windmill where local windmills gathered to enjoy music.

Daepungryu means a performance of wind instruments focused on appreciation for fun, and it refers to music centered on wind instruments such as incense flute and Jeongak daegeum for court music.

The basic pungmul is composed of Hyangpiri 2, Daegeum, Haegeum, Janggu, and Buk. The main musical pieces include eight songs including Yeongyeongsan, Jungyeongsan, Seyeongsan, Seyeongsan, Garaktori, Samhyeondodry, Yeombuldodry, Taryeong, and Gunak, but Samhyeondodry, Yeombuldodry, and Taryeong are used as dance music.

Although Daepungryu is valuable as traditional music with a strong and lively feel, such small-scale performances are now disappearing because music is produced on a wide stage. Jin Cheol-ho, the art holder, has learned from the late Kim Jung-sik about the economy of Seoul and the traditional Korean music of Incheon, which is different from the economy of Incheon.

A bedline refers to a stitch in a needle, which is the whole of the doubles. Clothing is a generic term for clothing and decorations, so the scope includes everything that can be made of sewing by threading a needle. The person who has this technique and its function is called a bedclothes.

It is said that it was before history that people started sewing. The Silla-era metalwork, similar to the current needle, was excavated, and a significant level of bedding during the Three Kingdoms Period is well illustrated by the murals of Goguryeo and the "Samguk sagi." The Goryeo and Joseon Periods were further developed and passed down to this day.

The necessary tools for the bedding include cloth, needle, thread, failure, thimble, scissors, ruler, iron, iron, nail needle, etc. As for fabrics, silk, cotton, ramie, and linen are mainly used. In fact, we use a lot of cotton yarn, but silk sewing always uses silk thread. The choice of yarn depends on the material, color, thickness, etc. of the fabric.

The stitching method is basic persimmon and groove, stitching, topsoil, whipping, and balling, etc., and the necessary stitching method is used depending on the area of the garment. According to seasonal changes, seams are sewn thinly in summer, and cotton is added in spring and fall to make warm clothes. In particular, our clothes have features that highlight the beauty of the detailed plane and curve.

In the past, all women had to know how to do the needlework, so the needle method continued to be practiced in the house and learned how to do it. There were times when the technique was passed down in the royal court due to bedrooms, but it was generally inherited by the family and is now impossible.

On December 31, 1996, Park Gwang-hoon was recognized as the holder of the function of the Intangible Cultural asset burial site and passed down our unique burial technique. On August 10, 2017, he was recognized as an honorary holder.

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