☆During the process of making furniture, a state made of wood, which is a step before painting or carving, is called "baekgol." For example, soban(small portable dining table) in this state is called Baekgol Soban, and the house without dancheong is called Baekgol jip(house).

Paint this baekgol and decorate it with a najeon(mother-of-pearl) or sculpture to complete the furniture. It is the same as the bare face before the decoration, and although there are many fields such as najeon, blacksmith, and hwagakjang, the white-gallows are rare.

Baekgol furniture is shaped after selecting, trimming, and weaving good wood. To soften the surface of the furniture, polish it with wax and rub it with fishskin. And perillaize the entire surface.

Kim Eui-yong, the holder of the function, came to Seoul at 15 and learned how to make furniture from Min Jong-tae, a former holder of Intangible Cultural assets in Seoul, and later worked at Sohn Dae-hyun's workshop. He has been making baekgol furniture for about 50 years and has tried to make it more practical by adding modern techniques to the way drawers are put in and out, and opening and closing doors.

Kim Eui-yong worked on the Najeon mural in Incheon InterNational Airport's VIP room in 2000, and won the grand prize at the Gyeonggi Provincial Craft Competition in 2001.

☆Kim Sun-ja was born in 1945 in Jindo, the town of pansori, and has been studying pansori since she was young.

In 1967, she entered the Pansori world after learning Heungbuga from Kim Heungnam. Since then, Choi Ran-soo, the second Important Intangible Cultural Property in North Jeolla Province, has taught Sugungga, Heungbuga and Chunhyangga to Cho Sang-hyun, the fifth Important Intangible Cultural Property, and Simcheongga and Chunhyangga. In addition, there have been several presentations of pansori, including the Pansori Cha-sang at the 16th Jeonju Daesaseup Nori National Competition, the Pansori President's Award in 1996, the Seoul Pansori Yupa Presentation in 1994, the Seoul Pansori Heungbo in 1998, and the Seoul Pansori Yupa Presentation in 2005.

In particular, Kim Soon-ja has been actively engaged in activities for the development of local traditional culture and arts, including training of pansori to the general public at Mokpo Cultural Center, Mokpo Maritime University, Halla University, Jeonnam Provincial Government, Jeonnam Arts High School, and Jeju Mokgwana.

Since prehistoric times, lacquer has been widely used in Korea, China, and Japan as natural paint. The lacquer is characterized by its long-lasting use and harmless to the human body by compensating for cracks and burst defects when applied to wood tools and preventing water ingress.

Najeon lacquerware is a craft made from conch, abalone, shellfish, etc. on a lacquer surface, and is a representative artifact of Korean people with a well-coordinated lacquer, which boasts a colorful natural color and a subtle gloss.

Park Gwi-rae was awarded the Silver Prize in the field of Najeon Chilgi at the National Skills Competition in 1998 and won the gold prize at the 26th Korea Victory Crafts Competition in 2001 after receiving a master's degree from Lee Hyung-man (Important Intangible Cultural Property No. 10 Najeonjang) in 1977.

Main growth refers to a craftsman with casting technology who melts iron into a mold to make the desired items. To precisely clone and restore artifacts, wax casting is used to create shapes using wax (beehives), which is a representative technique of bronze casting 2400 years ago.

Yi Wan-gyu, the owner of the main growth cripple, started his bronze casting job in the 1970s at the workshop of Oh Hae-ik, the master of metal craftsmanship. He has been working hard to produce various Buddhist items used in front of the Buddha, such as a candlesticks and incense burners, which belong to the realm of Buddhist art, and has become one of the best in related fields.

Meanwhile, he reenacted the Danusemungyeong (National Treasure No. 141), the Seven Wonders of Korea, by developing bronze techniques and studying traditional techniques, and after repeated research, he reproduced the non-wave-type bronze daggers (Joseon Sword) and Danusemung, followed by the trumpet-shaped motives, shield-shaped motives, and Ganduryeong. As a result, he won the Prime Minister's Award at the 32nd Korea Victory Crafts Competition in 2007.

People in Bukcheong, Hamgyeongnam-do (in North Korea) engaged in a folk play, wearing lion masks on the night of the full moon of January 15 on the lunar calendar thinking that a lion, a powerful animal, could drive away evil spirits for them. Lion-masked people from neighboring villages gathered together and competed with one another. Since the team from Toseong-ri, Cheonghae-myeon, Bukcheong-gun did better than the others, the play gradually disappeared in the other villages. The mask play had come to secure its rightful place among Koreans since the Three Kingdoms Period. Those from the North continued to play it, mostly in Seoul.

The mask play was started with young people carrying torches on the night of January 14 and was continued until the daybreak of the following morning. On January 16, they would pay visits to the houses of well-to-do people as prearranged. Upon entering the property, they would go around the courtyard in a line and start dancing. Then, a lion-masked person would join them. The “lion” would go into the inner room and the kitchen and make a gesture of eating someone alive. Then, the lion would return to the courtyard and engage in a lively dance. The lion would make a big bow to the deities kept in the house as requested by the owner of the house. When the lion would pretend to fall down exhausted, people would call an eminent monk to energize it by reciting a phrase of Buddhist scripture or have an herbal doctor apply acupuncture. Upon regaining strength, the lion would dance again with all the others. Participants included those acting as yangban (noblemen), a freakishly tall person, a humpback, a petty local government official, a dancing boy, a dancing woman, a monk, an herbal doctor, a scholar, etc. The dancing boy, the dancing woman, the monk, the herbal doctor, and the scholar appeared without wearing a mask. The musical instruments used were tungso (six-holed vertical bamboo flute), buk (drum), jing (large gongs), and janggo (hourglass-shaped drum). A mask dance performed in Bukcheong often uses tungso as a main instrument while samhyeon yukgak (three strings and six wind instruments) is used in Gyeonggi-do and kkwaenggwari (small gong) in Gyeongsang-do. The owners of the house would have their children ride on the back of the lion based on the belief that it would make them live longer. Money or grains donated by the houses visited by the troupe were used as scholarship fund for children from needy families and to subsidize expenses for senior citizen associations and cover the expenses for the lion play.

Bukcheong Saja Noreum is focused on merrymaking, featuring movements more powerful than other lion dances.

Myeongju (silk), which is woven from thread made from cocoons, is plain fabric without woven patterns. There are a wide range of silk fabrics, depending on the types of threads, weaving methods, and patterns used.

Records about the country’s sericulture appear as early as the Gojoseon Period (2333 BC? – 108 BC). Fabrics made with exquisite skills in Silla (57 BC – AD 935) were traded with goods made in Tang Dynasty China. During the Goryeo Period (877 – 1394), good-quality silk fabrics were produced. In the Joseon Period (1392 –1910), so many types of fabrics were made that names were attached to them according to their colors and quality.

Silks were produced in large quantities and they latercame to be used as materials for making ordinary cloth. In olden days, silk was woven by housewives on a loom to meet their household needs. Toward the late Joseon Period, looms were replaced by modern weaving machines.

"Traditional fishing is a traditional fishing culture in fishing villages, which refers to fishing gear or fishing methods that catch fish that flock to the coast during the ebb tide by hitting bamboo feet or stacking stones.

"Eo-sal" has a very long history, as it can be found in the records of the Goryeo period such as "The History of the Three Kingdoms" and "The History of Goryeo." After the 16th and 17th centuries, due to the natural conditions of coastal areas and the growing demand for seafood due to the development of commerce in the late Joseon Dynasty, the transformation of 'arrow fish' was made, resulting in the emergence of Jubuk on the west coast, Bangryum on the south coast, and Jangsal on the west coast. As such, 'arrow fish' has been an important part of the various traditional fishing methods that have been handed down in Korea.

As shown in the "fish fishing" in Kim Hong-do (Treasure No. 527) of Kim Hong-do (1745-1806 or later), "Eo Sal" represented coastal fishing until the Joseon Dynasty. However, with the development of fishing industry in the coastal waters after the 1970s, the traditional fishing methods, including 'arrow', began to decline relatively. One of the most common examples of Assal, which has been handed down so far, is anchovy fishing using bamboo sticks installed in the Jijok Strait in Namhae-gun and Mado and Jeodo Island in Sacheon-si.

"Traditional fishing methods - fish flesh" are designated as National Cultural properties in various aspects, including an understanding of nature and ecological environment, a combination of fish habits, the experienced knowledge of fishermen catching fish by looking at season and water, an important role in studying fishing culture, fishermen's fishing history, people's life history, and the fact that "fish flesh" continues to evolve into various forms of "net flesh."

However, the 'traditional fishing method – fish slaughter' was designated as the Korean fishermen's empirical knowledge system and was a lifestyle and culture widely inherited in fishing villages rather than limited to certain areas.

Records of Buddhist lantern festivals can be found in materials dating back to the 9th century, i.e., during the Unified Silla Period. The custom of holding lotus lantern festivals continued throughout the Goryeo and Joseon eras.

The lotus lantern festivals of Silla and Goryeo were primarily a Buddhist event; during the Joseon Dynasty, however, the festival became more of a folk event. During the Japanese Colonial Period, a parade of lanterns was included in the festivities. The lantern festivals feature a Buddhist memorial service in the form of a lantern parade, for which a great variety of lanterns are produced. After the introduction of Buddhism to Korea, lantern festivals became important Cultural events for both royalty and commoners over the period spanning Unified Silla and Goryeo to Joseon.

Throughout Korea’s history, Goryeo lotus lantern festivals had an important social function; even during the Joseon Dynasty when Confucianism was the dominant religion, lotus lantern festivals were important Cultural events for the common people, a tradition that has been maintained to the present day. It is currently under preparation.

Dure is an indispensable form of joint work in an agriCultural society. Only a person's hand had work your land, rice, rice, rice reaping most local people had to work with me at a time in the process. Although labor

united for, but itself was a village play, a festival.

Gimpo Tongjin Durenori is an event that focuses on the sound of farming in the old farmers' dure process that was handed down in the Tongjin area. Depending on the farming season, the song starts with a long melody and ends with a quick melody. The sound of gosa ddeokdam, mochi and gimaegi are called in Tongjin Durenori.

When Sangsoe's kkwaenggwari sounds, villagers begin to enter with a bucket bearing the name of the village that used to form Tongjin-myeon. After entering the flag, sowing rice seeds → paddy grilling → killing → rice planting → rice planting → eating fish → eating fish → laver fighting → cutting rice → chopping → building up islands.

In Gosa-gi, people share gosa-tteok in hopes of a good harvest, and in Mochi-gi, they sing mochi-gi songs to cheer them up. Sae-cham-muk-gi shows a combination of work and play, such as enjoying Sae-cham and enjoying entertainment. After a fish fight between rice paddies, it is expanded to a dure fight between villages. The team that catches the pheasant fence on the village flag first wins, and the winning team puts the pheasant fence back on the losing team's flag, leading to harmony.

Although the Duleges in the Tongjin area were cut off after the 1960s due to changes in farming environment, Yun Deok-hyeon won the Presidential Award at the 1997 National Folk Arts Competition for recreating the old tradition. Since then, the Tongjin Durenori Preservation Society was established to succeed the Gimpo Tongjin Durenori, and the Tongjin Dure Cultural Center was established in April 2008. After Yoon Deok-hyeon's death, Jo Moon-yeon was designated as the holder in November 2016. It is actively engaged in activities through an open event for Intangible Cultural assets in Gyeonggi Province, a presentation of the National Duret Sori Conference, a demonstration of inviting Intangible Cultural assets from each province, and a presentation of its own Gimpo Tongjin Durenori.

When mogabi (leader of a group of singers) leads with his part of the song, the others follow him with their part of the song, playing the sogo (small drums) and making gestures with their hands and feet. The name Santaryeong (Folk Song of the Mountain) was attached, since the lyrics are associated with natural scenery. It starts with slow rhythms but becomes faster gradually.

Today, the folk song is sung by males, but it originally stemmed from the female songs of sadangpae (itinerant performance troupe) composed of monks and Buddhist followers, who sang choruses of a prayer to Buddha and received contributions from people in return. With the decline of Buddhism during the Joseon Period, the members of the wandering troupes were replaced with males. Their prayer to Buddha was replaced with Seonsori Taryeong (songs performed in a standing position) sung by ordinary people. Seonsori Santaryeong was divided into a version of Seodo (referring to Hwanghae-do and Pyeongan-do) and a version of Gyeonggi. The latter portrays the natural scenery of places close to Seoul with singers playing sogo, whereas the former sings about the natural scenery of Pyeongyang joyfully with a fast tempo with singers making gestures and waving handkerchiefs.

This piece of folk song is a precious material for those studying the music of sadangpae. It is the most joyful, gallant, and liveliest piece among the country’s traditional music pieces.

It is a representative village in South Jeolla Province that continues the genealogy of Honam left-hando nongak, and unlike Honam Udo nongak and Namhae nongak, Jwa-do nongak has many delicate and difficult techniques due to the development of the bupo play of iron and sangsoe. And the rhythm and movement are fast and group technology is developed.

Jukdong Nongak madangbal and dangsangut dongje eolgung, in the nearby town, starting in and day in the same town include dangsangut, and Pangut to pass the entire bout.A colorful, have a lot of events than any local farmers ' music.

Jukdong village is a performance of several plays and social activities and the Victory through the traditions of the doing. Most of all, the Pungmul Training Center and the front yard, which are tailored for the Pungmul class, are offering lessons on Tuesday and Thursday evenings.

Jukdong holder, the functions the big shots of Mr. bakttaeeop gichangsu and gangsundong, leading gong-player leading role in charge of the performance of.

Jukdong performance in 1998, Cultural Festival in the southern part of our unified the many many awards at the National competition, including in and 1999, the National Folk Arts Festival winner.It.

Pansori Gobeob (Druming Performance Practice) is which occurred after the mid-Joseon period when Pansori was settled, refers to a drummer playing 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-gobeob, 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.

Gam Nam-jong, who has been designated as the holder of the Pansori High School Act, has spent his entire life with the high school law and served as a judge for several National high-profile competitions and high-profile competitions. It also contributes greatly to the development of pansori-gobeob by focusing its efforts on fostering backwardness.

Born in Naju in 1943, Ahn Bu-deok moved to Mokpo during his childhood, graduated from Mokpo Elementary School, and continued to live in Mokpo, where he trained pansori to Shin Chi-seon, Jeong Eung-min, Kim Sang-yong, and Seong U-hyang. I learned Dongpyeonje Chunhyangga from Seong Wuhyang teacher for 6 years from 1986. In 1994, she won the Grand Prize (President's Award) at the National Pansori Master Singing Contest.

Ahn Bu-deok has inherited the tradition of Chunhyangga, the Eastern Pyeonje of King Sejong. In particular, the rich reward and unobstructed old story of Sigimsae shows the teacher's unremitting efforts and skills, and shows off his skillful and splendid performance in the Chunhyangga, Kim's Dongpyeonje Chunhyangga.

Since Korea does not have a salt producing area, salt is produced from ancient times to the present using seawater as the raw material. Records of producing salt can be found from the Goryeo Dynasty, and the Cheonil Salt Farm, which has continued to date, was introduced in 1907 and lasted for more than 100 years. The biggest feature of the mudflats is that they were formed in mudflats, and Korea accounts for 86% of the world's tidal flat natural salt production. In addition, the unique characteristics of Korea can be found in the belief that salt prevents fire and eradicates injustice. In the future, research on salt production methods and working structure will greatly contribute to the academic research on fishing village culture and the ecology of mudflats in Korea. In addition, the mudflat salt field on the west coast creates a unique landscape along with the fall tide.

※ Since decontamination is not a traditional knowledge or technique that is passed down only to a specific region, it is not recognized as a holder or organization and is designated as a sport only.

Based on the fact that the ondol culture of the Korean Peninsula originated from the primitive form of heating system, which was installed in the Wonsamuk Dynasty through the Bronze Age, and that the ondol culture of the Korean Peninsula was discovered throughout the Korean Peninsula from the 3rd to 1st centuries B.C., it is estimated that the ondol culture of the Korean Peninsula was inherited for more than 2,000 years.Unlike a Western fireplace, our ondol has the advantage of being able to heat the room for a long time without generating smoke, as it is characterized by a fire-retardant floor heating that sits on top of the fire, rather than sending smoke directly to a high chimney.

Ondol culture is Korea's overall residential culture, which includes not only floor heating and eco-environment utilization technologies, but also Korean living customs and norms. This lifestyle was popularized as an "ondol room" culture representing Korea, affecting not only housing, interior architecture, and furniture, but also popular culture.

Marubang in response to the climate environment in summer and Ondolbang in winter are representative residential elements of Korea. Currently, Ondolbang is a unique residential technology and Cultural Heritage of the Korean people, which are distinct from the floor heating methods in China and Manchuria. And while the Ondol culture undergoes technological development, changes in the formality of major residential spaces, and changes in lifestyle, the original floor heating method continues.

As such, ondol culture has been inherited and continuously recreated for a long time and has a socio-Cultural value that has influenced Korean society's main life and popular culture, and it is worth being a National Intangible Cultural asset in that it is a culture that has wisely adapted to and dealt with the harsh climate conditions facing the Korean Peninsula.

※ ※ Ondol culture has long been shared and customary among Koreans throughout the Korean Peninsula, so it does not recognize the holder or the group it owns and only designates it as an event.