A chambit is a hairbrush with thin and dense combs. Depending on the size, there are large, small, medium, small and medium-sized enterprises, Jinyangso, Hwagakso, Mingapso, Milso, and Seoulchi.

The history of combs in Korea is so long that they were excavated from the Nakrang Ancient Tombs in the 1st century B.C. and during the Joseon Dynasty, bamboo wares were placed to make chambits.

Chambits are used to tidy up hair with a hairbrush and then to remove impurities from hair sometimes. Usually, combs are made of bamboo, but some are made of godmothers, and others are also made of coarse and dense.

Most of the shapes of the chambits are rectangular. Since ancient times, chambits have been made in Yeongam, Damyang, Naju and Namwon, but only in Yeongam and Damyang. Among them, the Chambit of Yeongam is famous throughout the country for its high quality and long-lasting use.

In Yeongam, South Jeolla Province, Yi Bang-woo and Ko Haeng-ju of Damyang have been recognized as having the function of the comb in order to continue the tradition of making it.

Buddhist paintings mainly produce tangs for worship and enlightenment, which express Buddhist doctrines in a conversational way.

The 15th Intangible Cultural Heritage of Busan, Gwon Yeong-gwan, is a Buddhist cremator who clearly proves his relationship with the Buddhist monk. His father, Kwon Jeong-du, was transferred from Yang Wan-ho, a great Buddhist mother who left many Buddhist paintings in Gyeongsang-do, including Busan, in the early 20th century, and produced outstanding Buddhist paintings and sculptures nationwide, while Kwon Yeong-gwan was transferred from his father again.

It was first introduced in 1962 and has been engaged in the production of tangs for 46 years in Busan. In 1972, he won the Excellence Prize for painting in the Buddhist Painting section of the 3rd Buddhist Art Exhibition hosted by the Jogye Order of Korean Buddhism, and won the Best Prize in the 4th edition in 1973, and the 5th edition in 1974, the following year, he won the Special Prize.

In addition to Buddhist temples in Busan such as Beomeosa and Samgwangsa Temple, there are more than 50 of his major works enshrined in Buddhist temples across the countrywide. In his writings, eight passers-by are currently working to pass on the function of Buddhist painting production.

In addition, the traditional methods of making Buddhist scriptures are faithfully followed by the traditional methods of making them, along with the ability to embody the contents of Buddhist scriptures in Buddhist scriptures. On December 16, 2008, it was designated as Busan Intangible Cultural Property No.15.

Ojuk is a bamboo that has long been regarded as a sacred symbol of the Chunghyojeongjeol, which has been called jajuk in China and black porridge in Japan. The color of the ojuk is very beautiful and varied, and the surface is also an excellent material that does not require painting. A person who has the skill and ability to make craftwork with these porridge is called Ojukjang.

It is used to cut down bamboo trees that are at least five years old and dry them for more than five years to make bamboo fields, and what can be used as a whole is used to dry them for more than 10 years, so that they do not burst and go bad even after a long period of time.

Ojukjang is a traditional craftsmanship. On December 31, 1996, Yun Byung-hoon was recognized as the holder of the function of Ojukjang, an intangible cultural asset, and was recognized as an honorary holder on April 13, 2017.

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

☆Pansori is a stage art consisting of a singer, a drummer, and spectators. The one who sings makes sounds, lines(Aniri), and gestures(Balim), and the one who plays Buk according to the tune of the one leads to an exciting atmosphere.

Pansori is divided into Dongpyeon-je in the northeastern part of Jeolla-do and Seopyeon-je in the southwestern part of Jeolla-do, and Junggo-je in Gyeonggi-do and Chungcheong-do according to its regional characteristics and genealogy.

Pansori has originally twelve batangs(songs) but almost disappeared during the Japanese Colonial Period. Only five batangs of Chunhyangga, Simcheongga, Heungbooga, Sugungga, and Jeokbyeokga remain until now.

Chunhyangga is one of the five madangs of pansori, where Lee Mong-ryong, the son of Vice Minister Namwon, broke up with Chunhyang, the daughter of Wolmae, and was imprisoned after refusing to accept official's sexual advances.

Jeong Chun-sil, the owner of the Dongpyeonje Chunhyangga entertainment show, is a singer who has a thick and rich voice, and she can see her ability to freely use the upper and lower pitches.

The roots of Jeonbuk dance are mainly based on Kibang Dance, and so is Honam Salpuri Dance. In particular, Choi Jeong-cheol's Salpuri dance (tentative name: Choi Sun) is a dance that transformed the towel dance learned from his teacher into a stage dance for a long time. His dance is deeply rooted in the emotions of Han, and his high self-control, along with the beauty of making, solving, and freezing, illustrates the characteristics of dance.

Choi Jeong-cheol started dancing when he was 10 years old in 1945, entered the Kim Mi-hwa Dance Research Institute in 1946, held a dance presentation for the first time at the Jeonju Provincial Theater in 1960, opened the best dance institute in 1961, and was designated as the holder of the Dojeong Intangible Cultural Property Honam Salpul Dance in 1996.

Currently, the school is dedicated to training its students for dance transfer through its lectures at various universities and colleges, and it is firmly establishing its position as a renowned dancer, <span class='xml2' onmouseover='up2 (1535)' onmouseout='dn2('dn2(')명명명명명명명span>.

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.

It is said that the monk danced as a member of the artillery group in the mid-Joseon Dynasty, but there is a theory that the dance originated from Hwang Jin-yi's dance to seduce an ethnic missionary. Having diverse dance moves and unique dance techniques, and the composition of the dance is also systematic, high-class, and artistic form, the dance is classified as a folk dance along with salpuri, not a ritual dance performed at a temple. The Buddhist colors of Jangsam with red lyrics on its shoulders and a cone hat are the essence of Korean dance, including the powerful Jangsam nori of Buddhist monks, outstanding foot-dimbing, and the spectacular drumming is the essence of Korean dance.

Born in Daejeon in 1974, Song Jae-seop began to learn composition and plaque from Buddhist monks of the Jogye Order, and was taught Buddhist rituals and ritual services such as baryeong dance by Buddhist monk Park Song-am, the holder of the important intangible cultural asset Yeongsanjae. Later, Yi Maebang received important intangible cultural assets such as Buddhist dance and Salpuri dance, and Yeongsanjae from Yeongsanjae Preservation Society.

Song Jae-seop's dance is very feminine but not weak, has a delicate yet large texture, and has a simplicity that is never fancy. The dance moves, which show a calm and vital movement from toe to toe, are used to solve the destiny of Korean traditional sweets. The gesture is not made up by force, but is drawing joy from within with restrained emotions and unfolds a dance that is never rigid. Drawing concentric circles on a calm lake, it gives a sad feeling as if the current is spreading. His own world of dancing and humble attitude from the spirit of composition deserve to be described as the struggle of a man born to dance fatefully.

The Buddhist rituals on Jeju Island are different from those of the mainland in terms of voice and re-cultivation given to the Buddha. In particular, Beumum, or Beompae, is a ritual song used to convey human wishes to Buddha, as a music dedicated to the Buddha to raise the ashes of Buddhist rituals.

The Jeju Buddhist ritual is distinguished from the land area by its connection with the traditional culture of Jeju as Buddhism was introduced and passed down in Jeju. In other words, Chilseongje and Sansinje are held in Jeju Buddhism, compared to the land area. This is because the ritual for mountain gods and Chilseongje is being passed down in connection with Buddhist rites.

Compared to the mainland, Jeju Island's Buddhist rituals are carried out more solemnly with the importance of the ritual of Sajacheon Stream, and even in the 49th year of Cheondojae, Siewanggakbae, which disappeared from the land area, is being purged to Siewangakcheong, and in the case of the life-long Jesus, a ritual of cursing (Gwanbul) is also inherited. The sound of An Chae-bi, a Buddhist-style music, is very slow compared to the land area and has a local tory of Jeju. In addition, Hwachong (Hesimgok) is also called Jeju Tori, which is different from the sounds sung in the mainland by transforming Buddhist songs.

A small pasture refers to a carpenter who has the skills and functions of making wooden furniture, such as a building door, window, or a wardrobe, a chest, a grotto, a desk, or a doorgap, which is symmetrical to a large construction site.

Currently, holder Kim Kwang-hwan holds the function. It was recognized as an intangible cultural asset holder because it had the ability to restore or reproduce various kinds of furniture and decorations in the temple, which had become the center of ancient culture.

A pencil case refers to a person who makes a brush, which is one of the literary sources, and its technique. The brush consists of brush feathers, brushes, and caps. The brush's fur includes sheep, deer, rabbits, weasels, tigers, and roe deer, and bamboo. The brushes used bamboo, but also used decorative brushes with gold and silver pieces, jade, and ivory.

The process of making a brush begins with the brush hair, which is the core of the brush. The basic conditions for brush hair are stiff, pointed, hairy, and neat, the top part of the hair is tied well with a string, and the hair is strong even if it is used for a long time.

Lee In-hoon has been making brushwork for three generations from his grandfather. When Yi In-hoon first learned his skills, he began to cut bamboo, shed fur, and feed grass. Among the brushes he made, Hwang Mo-bush made of weasel tail feathers and Jang-bush-bush made of female deer armpit hairs are particularly excellent, and in addition, blue, wool, and bamboo pencils are produced.

His technique of making fur is special and sparse, so he has excellent historical and academic value in the transmission and research of local fur making techniques.

Yongpyeong-myeon, Pyeongchang-gun, Gangwon-do, was named Yongjeon-ri by merging Dunjeon-dong and Bangdeok-dong as the main points of traffic passing through the Yeongdong Expressway.

The name originated from the fact that it was transferred from the area around Dunjeon-dong.

In the Pyeongchang area, there were Nongak bands in Jinbu, Daehwa, Banglim, Baekokpo, Jangpyeong, Mitan, and Yuchon in the 1970s, and Jung-ri Nongak in Pyeongchang-eup has long been active with regional representation.

Later, when Baekokpo Nongak, which had formed a double wall, was discontinued, Yongjeon Nongak was formed, and this was changed to the name Dunjeonpyeong Nongak, which is now being continued.

Yeomsaekjang refers to a craftsman who dyes cloth with natural pigments. Specifically, the art of dyeing, which has been designated as Important Intangible Cultural Heritage, involves dyeing with indigo. In the Joseon Dynasty, dyeing was a highly specialized skill such that a dyeing specialist was attached to the royal court. Natural dyes used for coloring cloth are plant, mineral, or animal matter, used as is or slightly processed. There are all kinds of dyes, but the indigo bush (Persicaria tinctoria) was the most difficult to use; the complicated dyeing process also required a high level of skill. With modernization as well as the introduction of chemical dyes, traditional dyeing has all but vanished. Thanks to a handful of dedicated craftsmen who have worked to revive the art since the 1970s, however, the art has been kept alive.