Gungsijang refers to the skill of making bows and arrows, or to such an artisan. A bow-making artisan is called gungjang and an arrow-making artisan is sijang in Korean. It is said that Koreans have displayed particularly excellent skills in the production of bows and arrows. In ancient times, the Chinese called Koreans Dongi, meaning people in the east skillful in archery and the production of bows. The shape of bows used in Goguryeo (37 BC – 660 AD) can be seen in murals dating from the period. They look similar to those used nowadays and so it is thought that the traditional bows have been handed down with no noticeable changes. Even during the Goryeo (877 – 1394) and Joseon (1392 – 1910) Periods, archery was regarded as an important skill. In the early Joseon Period, archery was one of the subjects that applicants for a state-administered exam for recruitment of military officers had to pass. With the introduction of matchlock rifles during the Japanese Invasion of Korea (1592 – 1598), bows ceased to function as a weapon. Bamboo or mulberry wood, water buffalo horn and ox sinew were used in the production of bows. Korean bows were made with ox horn and sinews. They could send arrows a long distance. The body of the bow was mainly made of oak and mulberry wood, and bamboo is also used to increase the tensile strength. To make the bowstring and the parts for connecting it to the body, ox sinew, ox horn and yellow croaker glue were used. Bows were not made in summer, as the stickiness of yellow croaker glue is reduced in hot and humid weather. Tools used to make the bows were saw, plane, wood hammer, file, knife, awl, wood pincer, wood comb, and metal comb. Types of arrows included mokjeon (wood arrows), cheoljeon (metal arrows), yejeon (long arrows used in special events), sejeon (thin arrows), and yuyeopjeon (willow leave-shaped arrows). Bush clover wood, bamboo, metal pieces, bird feathers, pear skin and glue were used in the production of arrows, which were made throughout the year.

Seokjang, the skills of stone masonry and master masons, were indispensable to the construction of Buddhist temples and palaces. Masons participated in the projects by crafting Buddhist statues, pagodas, and bridges from stone. The numerous stone artifacts handed down from the Three Kingdoms Period (1st century BCE ~ 7th century CE) attest to the advanced standard of stone masonry accomplished by ancient Koreans. Granite was the most popular material among Korean masons throughout history since it is one of the most widely distributed stones in the country; they also used agalmatolite, bluestone, and marble. Working with simple tools such as hammers and chisels, the stone masons breathed life into their solid inanimate material, thereby cultivating a refined art form. With the introduction of machine carving, however, traditional stone craftsmanship has gradually disappeared in modern times. The time-honored skills of ancient Korean stone masons have been designated as important Intangible Cultural Heritage so that they can be effectively preserved and transmitted to future generations.

Yi Ok-hui was born in Buyeo, Chungcheongnam-do in 1936, and is also called Yi Il-ju.

I learned how to play sound since I was young, and learned the basics of pansori such as Simcheongga and Chunhyangga from master singer Lee Gi-gon. After that, master singers Park Cho-wol, Kim So-hee, and Oh Jung-sook learned pansori and practiced their talents as master singers.

Lee Il-ju sang the pansori part at Jeonju Daeseok Nori in 1979, sang Simcheongga and Chunhyangga at the Seoul National Theater in 1981 and 1983, and won the Jeollabuk-do Cultural Award in 1982.

The vines are called Yongrin (dragon), Sangchundeung (常春藤), and Mokbanggi (木防己) in Chinese characters.
Depending on the province, it is called Jang Tae-mi or Jang Dre-mi in Gyeongnam, and Dangdang, Jeongdeung, and Jeong-dong in Jeju.

The stems of the Dengue vines are durable and very elastic, have features that bend well in wet conditions, and are the most advantageous of the full-crafted materials.

Also, the diameter of the stem is less than 2mm, so the texture of the artifact is delicate and fine. Due to these advantages, our ancestors made and used the tripe, spoonbills, baskets, and vegetables from early on.

However, as all traditional handicrafts did in the midst of the rapid wave of industrialization, the function of the dengue-tung-tung-tung craft gradually became disconnected. In a four-year straw and grass craft survey conducted by the National Research Institute of Cultural Heritage from 1992 to 1995, Jeju Island and Hongseong (Baek Gil-ja) were the only places in the country that made crafts based on dengue vines.

Baek Gil-ja is a skilled craftsman with excellent skills throughout the whole of grass crafts such as sari, barley straw, and wheat, and in particular, the daily crafts made of Deng-Deng-Deng-Deng-Dang are the only ones in Korea.

Najeonchigi, also called "self-painting craft" in Korean, is one of the decorative techniques of woodworking, and refers to craftwork decorated by cutting and pasting thinly sliced shells into various forms on the surface of lacquer wood products. Its mystery and beauty are considerable because it produces various colors depending on the direction of the shell attached and the direction of the light. Above all, it has excellent preservation, and its color does not change over time.

It takes a lot of process to complete the lacquerware. First, nothing is easy, from grinding the inner bark of abalone to cutting the edges of the abalone into a string that corrodes the edges of the abalone, cutting the skin thin with a knife, and cutting off the skin of the abalone. Then, after peeling the white bone with be applied, paint it on the white bone, beating the paint and soil to create a rough patch and a rough sketch. After that, holes are drilled into the pillow with a type, and patterns are cut with a real saw, and a paper copy is attached with a magnet and pressed with an iron. After removing the paper copy and applying it one more time, wipe off the lacquer on the pillow, and use the iron to make one work complete.The owner, Kim Jung-yeol, has mastered the technique in Tongyeong, South Gyeongsang Province, which is famous for its lacquerware, and is said to be the most Korean-style lacquerware. It was designated as the "Chilgi No. 96-19" in September 1996 and received the Presidential Commendation for its contribution to the development of traditional culture. It was also designated as an Intangible Cultural asset in 1998 for the first time among the Korean master Najeon Chilgi occupations.

He's been working hard for a long time to keep the leech going. In 1999, he is constantly participating in overseas touring exhibitions as well as the first artist of the "1st Cheongju InterNational Craft Biennale."

In 2011, the Cheonbong Najeon Chilgi Experience Center was opened to promote the beauty of Najeon Chilgi to many tourists.

Arirang, a National Intangible Cultural asset, is one of the most widely shared Cultural symbols and a song that contains the sentiments of the Korean people.

In addition, Arirang is a simple and natural expression of the people's joys and sorrows and aspirations, and has been passed down for generations, adding vitality to its value in history, artistry, and academic value as an Intangible Cultural asset.

※ 2012.12.5. Enlisted on UNESCO's Intangible Cultural Heritage of Humanity.

※ Arirang is a National Intangible Cultural asset that does not recognize certain holders or organizations in that Arirang is widely passed down across regions and generations and applied to modern times.

On September 22, 2016, it was designated as Chungcheongnam-do Intangible Cultural Property No.52 (owner Yoon Ju-yeol).

A loom is a straight line for weaving hemp, silk, cotton, ramie, etc. It is not known exactly when it was made and used, and most of it is made of wood, making it impossible to preserve the long term.

The study of the ancient rectangle shows the form and manipulation of the rectifier through the analysis of the parts of the straight line, the straight line drawing, and the fabric, which are unearthed piece by piece.

Although it is essential for Seocheon Hansan ramie weaving (National designated Cultural Heritage and UNESCO Intangible Cultural Heritage of Humanity), the demand for looms has decreased due to a sharp drop in ramie production compared to the past. In the face of the danger of extinction, the production technology of traditional looms has been designated as an Intangible Cultural asset of the provincial government to inherit and preserve traditional Cultural technologies.

The Beetle Market first began repairing the Beetle in 1962 based on carpentry technology. In 1982, the company produced the traditional loom in earnest, and worked on the supply and education of the traditional loom.

Beetlejang can not only make traditional looms, but also make all the accessories that go into traditional looms, such as body, body houses, malco, beige, loomchae, seondari, drum and drum needles.

Hanjijang refers to a craftsman skilled in the art of making traditional paper, hanji, from the bark of mulberry (Broussonetia kazinoki) trees and mulberry paste. Making hanji requires great skill and extensive experience. The mulberry bark has to be collected, steamed, boiled, dried, peeled, boiled again, beaten, mixed, strained, and dried; 99 processes are said to be required to get the paper in one’s hands, so the final process was also called baekji, meaning “one hundred paper.” Korean hanji was so famous back in the Goryeo Dynasty that the Chinese called the best-quality paper Goryeoji (literally meaning “Goryeo Paper”). Sun Mu from the Song Dynasty of China lavished Goryeo paper with praises in his book Jilin leishi (Things on Korea), saying that it was white and glossy and lovely. In the Joseon Dynasty, from the time of King Taejong, the state began to oversee paper production, establishing the office called Jojiseo (Paper Manufactory). In modern times, however, the change in architectural styles and housing environment and the import of paper have led to the virtual disappearance of traditional hanji. Today, because of high production costs, hanji is made with pulp imported from Southeast Asia rather than mulberry bark. To keep the art of hanji alive and pass it on to the next generation, the Cultural Heritage Administration has designated hanji making an Important Intangible Cultural Heritage.

Seodo-sori refers to folk songs and japga, which were handed down in Hwanghae-do and Pyeongan-do provinces (Seo-do areas), and the exact timing of when the song began to be sung is unknown.

Seodo-sori is composed of Pyeongan-do folk songs, Hwanghae-do folk songs, Seodo japga, a poem reciting Chinese poems, and Baebangi-gut, which has a dramatic composition.

In Pyeongan-do folk songs, there are water-seam-ga, woven water-seam-ga, gin-ari, jaja-ri, and Anju-ae-seong. The most famous water-seam-ga is the water-seom-ga, which recited the sorrow as a complaint when the people of Seodo-gun were blocked from public office since the early Joseon Dynasty.

Pyeongan-do's sound generally consists of five notes: re, mi, sol, la, and do, which form the framework of melody by going down a full five degrees from the shaking sound 'la'. In general, the editorial is long and the rhythm is not constant, so it is characterized by proper arrangement of the editorial.

In the folk songs of Hwanghae-do, there are Ginnanbongga, Jajeonnbongga, Byeongsinnanbongga, private Nanbongga, Sanyeombul, Jajinyeombul, and Monggeumpotaryeong, which are famous for their nangbongga and wildfires.

The sound of Hwanghae-do represents the general melody of Seodo, along with the sound of Pyeongan-do, but it is slightly different in terms of its melody progress. Pyeongan-do also has a certain rhythm compared to folk songs, and is bright and lyrical.

Seodo japga is a sit-down sound that opposes the introduction of Seodo, and there are Gongmyeongga, private Gongmyeongga, Chohanga, Jejeon, and Chupung Gambyeolgok, among which Gongmyeongga is famous. Seodojapga has a long editorial, and the rhythm is irregular according to the embroidery of the song. There is something in common that ends with a deep-seated attitude when closing the end.

The rhythms of Seodo sound, commonly called "Sushimgatori," are usually played from the top, the top notes are dropped, the middle notes are shaking violently, and the bottom notes are stretched straight, making it sad to sing these sounds in a relaxed.

The singing style of Seodo Sori is a bit unique, but since there are Sokcheong and Bongcheong, Sokcheong uses a sound that is pulled with the inner voice and the head and the back of the main office.

Baebangi Gut is a music that is often compared to pansori in Namdo, and a singer narrates Baebangi's story in a humorous way by mixing folk songs, radish songs, and jaedam based on Seodo's basic musical grammar in line with Janggu's accompaniment.

Seodo-sori is a sound that has been handed down by the people of Seodo, who have been living in a harsh climate adjacent to the continent, along with the northern immigrants, and their living emotions are also well reflected in the songs.

Gungsijang refers to a person who has the skill and ability to make bows and arrows, who is called a mayor who makes bows and arrows.

In China, it is said that the Korean people have excellent skills in bow making enough to call them Dongyi because they are the people of the east who make good bows and shoot well. Traditional archery has been used since the Three Kingdoms period, and archery has been in the past exam subjects since the early Joseon Dynasty. After the Imjin War (1592), it was used as a weapon of war until the gun was imported. Currently, it is called the National archery to distinguish it from the archery that came from the West.

During the process of making bows, bamboo, mulberry, and water cones are trimmed, while bamboo and mulberry trees are bent over the fire and connected. Cut the bamboo end into V-shape, and the mulberry end is twisted in the opposite shape of V-shape, and glue it in. The core layer, which attaches the water horn to the surface and raises the tendon to the bow, works. After such a process, the drying process (purification control) is carried out for about one month. When the drying process is over, cut the cocoon. At the end of the clipping, adjust the bow's strength according to the bow user's physical strength. The Korean bow is characterized by its use of iron horns and iron core ropes, and its production tools include saws, bamboo hammers, ropes, knives, awls, tongs, wood, combs, and ribs.

The process of making arrows is to select bamboo to be used as a body, dry it sufficiently, and then hold it straight. Work on the onnet and collar for the bow line. The ingredients are bamboo, sari tree, pheasant flag, and folk-fish bush, and the types are wood, iron, ancient, world, and leaf jeon. The arrows used today are leaf jeon made of bamboo.

Gwangyang Gungsijang was designated as an Intangible Cultural asset to protect and transfer technology as a traditional craft technique. Kim Ki-ki, a functional holder living in Gwangyang, South Jeolla Province, is continuing his career.

Okjangbap refers to a craftsman who processes various kinds of jade and shellfish and works on royal logistics and men's and women's ornaments. As for jade stones and shellfish, Gyeongok, Yeonok, Sanho, Pumpkin, Mano, Sujeong, Gongjakseok, Yuri Jeok,

There are ivory, godmother, calligraphy, black-angle, pearl, and stonghwang.

These jade pagodas have been widely used from the royal court to the general public, including Norigae, tangerine, backrest, hairpin, earring, ring, intestine, dongje, gwanja, seonchu, needle, pungjam, danchu, and string. Royal ornaments were used for royal ornaments such as jade pedestal, jade seal, cotton crown, and pagodaejang. Traditional manufacturing processes go through quarrying → design → cutting → molding → drilling → digging → digging → carving → cutting 질 polishing 질 polishing 광 polishing → polishing → polishing.

In 1970, Kim Yeong-hui, the owner of the school, entered the school as a student of Kim Jae-hwan and practiced techniques. In 1988, he was recognized for his skills through numerous awards including the Grand Prize in the Korean Traditional Crafts Competition, the Special Prize in the Korean Traditional Crafts Competition, and the Minister of Commerce, Industry and Energy of the National Crafts Competition. He was selected as the winner of the state-designated Oksuk Pagakgapgi Crafts.

A total of more than 100 artifacts and reproduction projects have been actively carried out so far, including various exhibitions and activities at home and abroad, including the Baekok Moranmun Memorial Hall (the head of the U.N. headquarters in Korea), the Royal Palace Museum's 60th anniversary of Korea's liberation from Japan's colonial rule (the head of the National Palace Museum).

In addition, the museum opened in 2014 as a first-class museum in Heyri Art Village, Paju, to inform the public of the beauty and excellence of traditional jewelry. In addition, the government is trying to inherit and pass on the skills of the royal jade crafts of the Joseon Dynasty through the Soye region for the study of the Byeokbong Royal Cultural Heritage, and to continue the tradition of Korean royal jade crafts.

A monochromatic object without any decoration on the background gives a neat, neat feeling, but plain and boring. As the crust developed, mankind tried to express something on the background of a plain pattern and attach symbolic meaning to it. Thus, patterns were born, and humans painted or carved patterns or drawings on various materials for decorative and symbolic purposes, and added colors.

It is difficult to paint or color in metal. So, after carving dots, lines, and faces using chisels, the patterns and drawings were expressed by inserting gold and silver threads or plates into the groove. This is an incidental craft 入絲工

Call it, and the craftsman is called a job place.

The incident crafts are delicate and beautiful. Gold and silver are added to the metal base, making it colorful and elegant. It requires a subtle persistence and elegant spirit as it is a work of making grooves in metal and putting pictures in it. Three National treasures, including Chiljido (Japanese National Treasure) made by Baekje and presented it to the king of the Japanese Empire, Bronze Sealed Entrance Soldier (National Treasure No. 92), and four treasures, including Bronze Sealed Entrance Scentwan (Treasure No. 778), are currently designated as National treasures. That's why I joined the company.

They call it 'the purification of metal crafts' and hold them as representative artifacts of Korea.

Yi Gyeong-ja, the holder of the craft, is a disciple of Yi Hak-eung, who was the last employee of the Joseon Dynasty, and continues the tradition of silver Ipsaeng craftsmanship, which he learned from his teacher. From accessories to wall decorations to outdoor space decorations, the company is expanding its horizons by combining traditional and modern metal crafts, and 200 silver-entry artifacts, which have been restored and reproduced with great care, are currently on display at 12 museums across the country.

Namsadangpae is a folk play group that originated from the working class in the late Joseon Dynasty, and it is a group of professional performers who performed with six kinds of talent: spinning plates (berna), skipping tricks (salpan), talnori (sokbogi), tightrope walking (yoreum), and puppet play (dulmi). It consists of 40 to 50 people, including four to five dungsoe, heat, beep (first-particle), low-pitch, and backers. Cheongnyongsa Temple, located in the middle of a mountain in Seowun-myeon, Anseong, became the home of Namsadangpae, and the origin of Anseong Namsadangpae can be seen as Buldanggol Sadangpae, which was sponsored by Cheongnyongsa Temple.

Anseong Namsadang Pungmul Nori consists of Yeonggi, Seonanggi, and family register, while Pungmul Jab consists of objects, buckgu and Mudong. The pungmul rhythm is based on 'Utopdari rhythm'. write powerful, delicate, slow, and fast rhythms evenly The composition of pangut consists of Insagut, Dolim Buckgu, Gopolim Buckgu, Dansan Distant, Dansan Norim Buckwheat (Yang Sangchigi), Dangsan Dolim Buckgu, Obangjin, Mudong Norim, Buckgu Norim (double-stringed white), Sadongbaeki, Gaetonggeori, Jwaupeulim, Nebaekchigi and Yisugi and Yisukim and Il.

In the early 20th century, many Namsadangpae Mogap were produced, and the pungmul of Anseong was called 'Uldari Nongak' and became the central part of Nongak in Gyeonggi Province. The Namsadangpae, which was active at the time, included Gaedaripae, Ohmyeongseonpae, Simseonokpae, Anseong Bokmanpae, Wonyukdeokpae, and Lee Wonbopae, but the actual origins of Namsadangpae are the genealogy of Baudeok, Kim Bokman, Wonyukdeok, Lee Wonbo and Kim Ki-bok.

In 1982, the Anseong Namsadang Preservation Society was established under the leadership of Kim Ki-bok, who took the Sangsoe class at the Yiwon Bopae. In 1989, he won the Presidential Award at the National Folk Arts Competition. Kim Ki-bok was designated as a holder of entertainment in 1997, but died in 2015. Since then, Sung Kwang-woo, the chairman of the conservation committee and assistant instructor for training, has been striving to perform performances and pass down the event.

Entering the 33rd Korea Victory Crafts Competition in 2008

Entering the 14th Jeonju Traditional Crafts National Competition in 2009

2010 Special Selection for the 35th Korea Victory Crafts Competition

Salpurichum refers to a dance extemporaneously performed by an exorcist to put an end to bad luck. It is called Dosalpurichum or Heoteunchum. The name salpuri was first used by the traditional dancer Han Seong-jun at his theater performances in 1903. The dancer performs to salpuri music in a white skirt and jacket, with a white handkerchief in hand to express graciousness and sentiment. It is said that the present-day salpurichum is one handed down in Gyeonggi-do and Jeolla-do Provinces. With the stabilization of the country toward the mid Joseon Dynasty and invigoration of the culture of commoners, it developed as a dance performed by clowns. Exorcism rites were prohibited during the colonial period (1910 – 1945) and this exorcism dance came to develop purely as an artistic dance. Salpurichum is a classic dance with high artistic value, expressing popular sentiment through beautiful movements and transforming sorrow into delight.