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.

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.

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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.

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

Main growth refers to a craftsman with casting technology who melts iron into a mold to make the desired items. During the Joseon Dynasty, the main growth was centered on light factories where weapons and metal types were made at military bases and main bases. When the factory plan was abolished after the reign of King Yeongjo and King Jeongjo, a private owner of the company emerged from the 17th century. They were responsible for the demand for Buddhist bells, vaults, incense burners, shrines, and runners, and from the 19th century, they gradually declined. Later, during the Korean Empire, the main growth was almost cut off, but rather, Japanese colonial era gradually revived due to increased demand for castings due to the production of military supplies.

Park Han-jong, the main growth function holder, entered the main growth business at the age of 16 and has a long career of about 50 years. The main growth of the Busan area is said to have originated from Kim Seok-gon, the main growth engine of Busan, who founded Beomjongsa Temple in Japanese colonial era. Kim Seok-gon's master craft led to Kim Kwae-jae, who was active in the early 20th century, and Kim Seok-jeong, who ran Cheongjongsa Temple, and Park Han-jong received the master craft from the two men. Since 1987, he has inherited his master, Kim Seok-jeong's Jujong Workshop and renamed it Hongjongsa.

In the meantime, 200 households with less than 1,000 pipes and 10 households with more than 2,000 pipes were selected. Some of the more than 2,000 representative works include Daebeomjong (1991), Daebeomjong (1996), Busan Citizens' Bell (1999), Gimcheon Citizens' Daejong (1999), Shin Eo Beomjong (2001), and Bongnyeongsa (2002) in Suwon.

Park Han-jong's method of casting the bronze bell is based on the traditional Korean technique of casting death penalty, in which half of the life-long sections are modeled and the molds of the inner and outer shapes are constructed and cast separately using a huge rotating shaft. Moreover, the precision casting technique of the Sangwonsa Temple, which was not clear about manufacturing techniques, was reproduced in the traditional way of casting death, allowing it to inherit the mystique of the Korean species, which is highly praised for its excellent sound and pattern beauty.

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.

This is a tutelary rite held in early January on the lunar calendar, or in spring or fall annually, or biennially or triennially near Seoul or Suwon or Incheon, to pray for peace and a good harvest. At present, a complete version of the rite can be seen only in Jangmal, Bucheon. The shrine for village guardians in the pine forest, which is more than 300 years old, tells us that the exorcism rite started during the Joseon Period (1392 – 1910). The rite starts in the morning and finishes the next day morning. It is performed by a hereditary exorcist skilled in songs and dances. Male exorcists liven up the atmosphere, doing tightrope walking, cracking jokes and displaying various feats. Songs and dances by gisaeng (female entertainers) used to be included, but they have disappeared. Participation of male exorcists (called Hwaraengi) in the rite distinguishes Gyeonggi-do Dodanggut from those performed in other areas. Music and rhythms used in this rite follow those of pansori (epic chant). Displaying high artistic quality, Gyeonggi-do Dodanggut is regarded as a valuable source material for anyone studying the country’s traditional culture.

Gotham's chunks are liquid, liquid, and fermented chunks. There are not only colors in Gotham's water, but also numerous fermented microorganisms. The water flows through the village and becomes a mysterious color, drawing Buddhist paintings becomes a subject of worship, a gift given to the family's eldest son on the day of the coming-of-age ceremony, and a talisman-like gift to a traditional family that has lived for generations.

In Gotham, various kinds of living things play their roles even without colors, so they function as preservatives and insect repellents. Using these functions, traditional Buddhist art preserved the foundation for more than a thousand years.

The secret recipe for the jjokmul is passed down as a relic through the Goryeo Buddhist painting, Baekui Gwaneum, and it was passed down to Gotham, becoming the only invention patent (No. 10-0420990) in the world and giving birth to the most skilled craftsman in Gyeongsangnam-do.

Gotham water is a pure natural product unlike natural or chemical dyeing.

Records tell us that on the Korean Peninsula, embroidery started during the Three Kingdoms Period (circa 57 BC – 668 AD). During the Goryeo Period (877 – 1394), the practice became so widespread that it was adopted even on the clothes of ordinary people. As a result, embroidery was prohibited several times. With the start of the Joseon Period (1392 – 1910), the practice developed further and was divided into royal embroidery, exquisitely made by skilled court ladies, and the others. Looking at how a piece of embroidery is made, first the cloth to work on is fixed onto a frame and a rough sketch is made on it. Upon the completion of embroidery, the frame is shaken to remove dust. Then, a thin layer of paste is applied to the back of the embroidered surface so as not to let the stitches scatter. The embroidered piece is then placed in the shade to dry and removed from the frame. Embroidery has developed as a reflection of Koreans’ living environment, customs, and beliefs.

Yi Man-hui, a Yeonan clan member, had a close relationship with the royal family, with her ancestors attending "Jidadai" (a royal inspector). From his mother, the eldest daughter-in-law, to the wedding exhibition, he learned how to make traditional rice cakes and other traditional foods.

He has lived in Daejeon for more than 40 years since his marriage to Gwangsan Kim, and has continued the tradition of wedding food culture by making rice cakes and other food. Among his food manufacturing functions, various types of rice cakes, such as white rice cake, honey rice cake, and Shingum vinegar rice cake, were one of the most representative rice cakes in the Joseon Dynasty, which were referred to as white rice cake, wheat cake, and shingam vinegar rice cake.

According to the records of the Joseon Dynasty's royal court, the white rice is made of spicy rice, glutinous rice, stone mushrooms, pine nuts, chestnuts, jujube, chestnuts, pine nuts, and honey, and the sweet and sour chocolates are made of spicy rice, glutinous rice, vinegar powder, jujube, pine nuts, and honey. These ingredients are decorated with jujube, chestnut, and pine nuts on top of sesame oil-based hanji, and Lee Man-hee's adaptation inherits the Joseon royal family's recipe for rice cakes.

Baekpyeon, etc. was originally used in royal banquets combined with the development of tea culture. It was a typical rice cake made of spicy rice used with malcha in the Goryeo Dynasty and green tea in the Joseon Dynasty. It was a must-have tribute to Jin Chan-yeon of the Joseon Dynasty, combined with the tea ceremony, the essence of Yeonhui.

Gurye Jansu Nongak is a nongak handed down from Sinchon Village in Sinwol-ri, Gurye-eup, Gurye-gun, and has the characteristics and characteristics of Honam Jwa-do Nongak.

This nongak is basically composed of Dangsan Jemanggut, Madangbapgi, and Panggut, and it retains its tradition as a village rite. Dangsan Jemanggut consists of a farming band performing a ritual at 10 a.m. every year on the day of the first lunar month.

After this rite, the Nongak band went to each house in the village and played Madangbapgi to defeat the evil spirits, which led to the participation of all villagers.례 Gurye Jansu Nongak is not handed down by a professional nongak group, but is a village nongak, which is run mainly by villagers. In the past, Jansu Nongak was so famous that its reputation was known not only in Gurye but also in neighboring Suncheon and Namwon.

In the past, documents related to the operation of nongak are also presented, including the "Nongakwi Family Rule" and the "Nongakwi Family Gyejae Reservoir" written since 1954, which record the principles and financial status of nongak.

The Korean traditional music is composed of sijoshi (Korean traditional poetry) and sung to orchestral accompaniment. It is also known as 'span class='xml2' onmouseover='up2 (2487)'onmouseout='dn2()'dn2((an)삭삭노노노노노>>>>>' or '노.'

It is known that the original version of the song was not sung in the late Joseon Dynasty, when the song "Mandaeyeop," "Mandaeyeop," or "Mandaeyeop," was lost before the reign of King Yeongjo (1724-1776). The current song originated from the fast-paced song "Sakdaeyeop," which appeared in the late Joseon Dynasty, and is composed of a collection of songs that are related to the melody.

The song is divided into five chapters, with a prelude, a rental note, and a second, third, middle, fourth, and fifth chapters. Very organized and well-organized. If you look at the rhythm, there are 16 beats of slow speed and 10 beats of fast speed of "pyeonjangdan." The performance consists of Geomungo, Gayageum, Haegeum, Daegeum, Danso, and Janggu.

Lee started learning Yeochang song and sijo from Han Yang-su, an intangible cultural asset of Jeollabuk-do, and has continued to communicate and engage in activities with local politicians. In addition, as a professional who majored in Jeongga in college, he combined theory and practical skills, and was recognized for his skills through seven solo concerts.

Fraud means a person or a person who makes a bowl form by mixing white clay, etc., and then makes a bowl baked at a high temperature of 1300°C or higher.

In the late Joseon Dynasty, when government-controlled ceramics were closed, potters scattered across the country, and folk songs (where ceramics are made in the private sector) flourished in the provinces.

Banggok-ri, Daegang-myeon, is also widely known as one of the places where folk pottery was produced during the Joseon Dynasty, and potters who are still making traditional pottery are still active.

In particular, Seo Dong-gyu, a functional holder, was born and raised there and has been devoted to making starch. In the early days, tea cups centered on Dawan were well received by Japanese favorite artists, and melodies were reproduced using natural yuak.

Banggok-ri Melting has a unique characteristic that it does not spoil, cool quickly, and does not stick to the fat.

In addition, the intense lines, majestic shapes, and delicate yet soft droplets that appear during baking in a pine fire kiln are aesthetic expressions that no one can imitate.

The production process is as follows.

1 Prepare to remove firewood with pine trees directly removed from Hwangjeongsan Mountain

2 Mud mixing (making sand soil) with soil enriched with granite

3 Digging the sand and putting it in the water

4 Rinse out the water a few times

5 Drying soil

6 To knead and knead dry earth

7 Molding on a dough spinning wheel

8 Use fire above 900°C for 3 hours

9 Apply glaze made of lye (because it is fragile)

10 Cooking glazed bowls for 16 hours on a light fire

11 Applying ashes to burn elm trees



* Functional holder Seo Dong-gyu

Seo Dong-gyu was born in Danyang, North Chungcheong Province, in 1938 and entered Banggok pottery in 1956. Starting with the Gyeonggi-do Folk Art Competition, he will participate in various exhibitions, including the Dong-A Art Festival's entry into the craft section, the Korea Art Exhibition's special selection of the craft section, the Korea National Exhibition, the Korean Traditional Ceramics Exhibition at the Hawaii Invitation Hall in the U.S., and the Tokyo Exhibition in Japan.

In 2000, he was awarded the Minister of Labor's Commendation, and in 2001, he was awarded the Prime Minister's Commendation. By 2002, he was selected as Chungbuk Intangible Cultural Property No. 10. His family has made pottery since his grandfather's unit, and Seo Dong-gyu has been making pottery for three generations.

Dansojang refers to a person who makes a Danso or a technique, and Danso is an instrument of wind and wind.

Use Hwangjuk or Ojuk as ingredients for making Danso. The production method is to boil bamboo in salt water for about 10 hours to remove oil and then apply heat to straighten out the bent part. Then soak it in cold water for about 10 minutes and let it dry for more than three months in a well-ventilated shade. The dried bamboo is cut 500mm long, cut back 420mm, then make a half-moon-shaped Chuigu and pierce the ground. Chuigu is the place where the breath is breathed, and Jigong is the part where the fingers control the pitch.

Dansojang was designated as an intangible cultural asset for the protection and transfer of traditional craftsmanship. Kim Hwang-jung inherited the Danso production function from his late father Kim Yong-shin.