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.

The Musudongsan Shrine is a village religion that has been handed down from the late Joseon Dynasty to the present day in Musu-dong, a community village of Andong Kwon Clan, and has been designated as an intangible cultural asset in Daejeon to preserve the tradition of folk culture in Daejeon.

Sanshinje is recognized as a holding organization as its tradition continues to this day due to the efforts of the Musu Dongsan Shinje Preservation Association despite the rapid influx of foreign culture and culture after liberation.

Gold gourd is a craftsman who prints various patterns using thin gold foil on top of a fabric. Today, it can be seen in women's wedding clothes.

The gold foil decorations were used in the royal family in the Joseon Dynasty, and there were not many relics that existed due to storage problems, but the three daughters of Sunjo (1822-1844) said they were worn at the wedding of Princess Deogon, the third daughter of Princess Sunjo, are decorated with gold and the characters 'su and 'bok' (Chinese Folklore Cultural Heritage No.211).

The gold foil decoration is made by stamping the adhesive pattern plate where it wants to be placed, attaching the gold foil before the adhesive dries completely, and then removing the gold foil outside the pattern again.

The gold gourd technique is completed based on the woodwork technique of carving pattern plates based on the eye of selecting and placing patterns suitable for the composition of clothes, and the long experience of making and utilizing the properties of glue and gold foil, the main ingredients.

Gold gourd refers to a piece of gold that is made like thin paper by continuously tapping on it, but today it is understood as a technique for decorating patterns on fabrics using gold foil.

Gold Bakjang is a craftsmanship that embellishes Korea's doubles culture in a splendid and dignified manner, and it is significant in that it is able to revive the legacy by designating it as a national intangible cultural asset.

Gayageum Byeongchang refers to singing while riding Gayageum.

The song is sung by adding gayageum accompaniment while picking a passage from either Danga or Pansori. In Pansori, it is also called Seokhwaje. There is a theory that Kim Changjo, the master of the Gaya Geumsanjo, began to be called in the late Joseon Dynasty.

Jinyang, Jungmori, Jungjungmori, and Jajinmori are used in Jangdan. The same melody of the gayageum and the song changes to match the principle of the gayageum, fills the space of the song with the gayageum melody, and sometimes adds to the excitement by adding the gayageum ganju.

Some of the representative songs include Gokcho, Honam, Cheongseoknyeong Pass, Jukjangmanghye, Saranga among Chunhyangga, Jebinojeonggi among Heungbo, and Gogo riverside among Sugungga.

Gayageum Byeongchang is a valuable cultural asset that seeks pure musical beauty among traditional music.

In traditional society, nongak has three main ways of existence. First, nongak related to rituals such as dangsangut or yard treading, and second, nongak related to labor and play, such as duregut played in Gimmaegi with durekun, and third, pangut related nongak.

The current "Gabbi-gocha Nongak" is a pangut-style nongak related to play, and the main theme of this song is Nongsa-gut Nori, which reproduces farming work as a play.

These farming rituals are found in parts of Gyeongsangbuk-do and Gangwon-do, and are largely characterized by the preservation of similar nongak in Ganghwa, which is far from the region.

The Gayajin Yongsinje(a ritual handed down in gayajin for the Sea God) is a national ritual handed down from the Three Kingdoms Period to the Joseon Dynasty, and is a folk game based on the ritual of Gaya Jin Temple in Yangsan.

At first, it was gradually transformed into a ritual for heaven and earth gods, praying to the gods, singing and dancing, and today, it is divided into a ritual and a play, such as Junggut, Chomsayeongje, Yongsopool, and Sashinpuri.

The Gayajin Yongsinje begins with cleaning the shrine and village.
The leader of the team will play the Jisinpuri, and the rest of the party will follow as they walk.

When they return to the altar, they go around the altar and perform a ritual called Gangsinje. It is then supervised to hold the Yongsinje. Before leaving for Yongso, which believed that Yongsin(the Sea God) lives, they set fire to kill all unclean, and Pungmulpae even takes off his shoes and burn them.

While carrying a live pig to be used as a sacrifice to the bow, they pour out a drink when they arrive at Yongso, bow to pray for the well-being and prosperity of the village, and offer a sacrifice to Yongsin.

After coming around Yongso, the game iss over when the altar concluded the offering and the chiksa took off his official uniform.

The Gayajin Yongsinje Festival is a festival in which all villagers participate, and it is important to strengthen the harmony of the residents.☆

☆Daemokjang refers to a carpenter who has traditional Korean wooden architecture, especially traditional woodworking techniques. Their range of activities extends from maintenance, restoration and reconstruction of Hanok(house) or historical wooden buildings such as palaces and temples.

Daemokjang is responsible for the overall process of planning, designing, and constructing buildings, as well as managing and supervising other carpenters. The wooden structures completed by Daemokjang are all elegant, concise, and simple, which is a unique characteristic of traditional Korean architecture.

Traditional Korean construction processes require a aesthetic sense to select, cut, and shape wood to be used as building materials, along with the technical ability to design buildings according to their size, location, and use, and to create so-called 'thousand-year joint' without using nails.

Park Yeong-gon (55, Daemokjang No. 718), a master craftsman of cultural heritage, is designated as an intangible cultural asset and also called Dopyeonsu.

Dopyeonsu refers to a master craftsman's craftsmanship that includes the basic framework of a building, trims timber, and supervises the overall construction, and includes the scenery of life, the fascination of space, and the spirituality of culture.

☆Pyeongchang Hwangbyeongsan Hunting Folk is a folklore based on winter community hunting, which can only be seen in highland areas over 700 meters above sea level and mountainous areas with a snowfall of more than 1 meter. It retains the same hunting folk style including food, clothing, community faith, and hunting practices, especially a hunting folk group that reproduces traditional mountain hunting culture in Gangwon Province such as hunting methods, hunting tools, and hunting festivals.

☆Geumsan Ginseng Baekju is a traditional liquor-making method handed down to the Kimnyeong Kim family in Geumsan, which is recorded in the "Japrok" of Kim's family. According to the report, whole wheat and ginseng are mixed to make yeast by fermenting them for three months. The rice and the prepared yeast and ginseng are mixed to make an pre-liquor. Add wormwood, pine needles, ginseng, and rice and ferment them for 40 to 60 days. When the alcohol is fully cooked, filter it out and use a ring to distill it. The alcohol level is about 43 percent, and it smells like ginseng and has a soft color. Kim Chang-soo, a functional holder, is Kim Mun-ki's 18th-generation descendant and has inherited the technique from his mother and grandfather.

☆Dongbu(Eastern part of Korea) folk songs are sung in Hamgyeong-do, Gangwon-do, and Gyeongsang-do and East Sea coast, and its name is distinguished from Namdo(west-southern part of Korea), Seodo(west-northern part of Korea), and Gyeonggi(middle part of Korea).

The songs held by the holder Park Soo-kwan are Baekbal-ga(a song of white hair), Yeongnam Mo-song(field farming song), Bier Sori, Chiya Ching Ching-nane, and Jang Taryeong, which have generally well-preserved musical, literary and folklore characteristics as eastern folk songs.

Park Soo-kwan is a local folk song-maker who sings with the Menari-Tori of the Eastern Folk Songs, and he is striving to preserve and foster Eastern folk songs, including active transmission activities at home and abroad, for the victory of Eastern folk songs that have been neglected until now.

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.

Preservation Society of Urban Folk Village

Although the thatched houses on Jeju Island are different from those on the Korean Peninsula, the design and repair of traditional thatched houses designated by Jeju Island as important folk materials are being replaced by the design and repair companies of traditional thatched houses on the Korean mainland.

In an effort to preserve the original urban folk village, Jeju's traditional grassland was restored in recognition of functional groups and technicians. The restoration of the original shape of Jeju Island is highly valuable as an intangible cultural asset.

He is well aware of the nature, contents and use of the Seonhwa production tools, and works on the basis of the traditional fan, including the posture of Seonseung based on Buddhist doctrines, and the preparation process of Seonhwa through the meditation and performance.

Park Man-sik, the owner of Seonhwa, has a distinct lineage and lineage genealogy, and is a Seonhwaseung who has both systematic theory and performance.

In particular, it is highly regarded that the quality of the Seonhwa is actively reflected in Seonhwa through meditation and performance in the process of producing Seonhwa, and it is highly qualified to designate and recognize intangible cultural assets designated by Busan Metropolitan City, including the fact that the work is not only aesthetic perfect but also the ability to write through the Seonhwa can be freely used beyond certain boundaries.

A musical instrument master is a person who has or has the ability to make musical instruments used in traditional music. As wind instruments, string instruments and percussion instruments are already appearing in the murals of Goguryeo, it is assumed that the craftsmen of musical instruments were already present from the Three Kingdoms Period. During the Joseon Dynasty, an independent institution called the Musical Instrument Creation Office was established to produce and use musical instruments. Gayageum and Geomungo are the most representative Korean traditional musical instruments. Next, Ajaeng, Daejaeng, and Hogeum are the mainstream. It is common for stringed instruments to be made of odong-tung and chestnut-tree, while pieces of decorative items are often made of jujube, black belt, and juniper trees. Odongnamu is characterized by its vibration of sound, its dryness does not create gaps, and the lack of food for small.

Cho Jun-seok, the holder of intangible cultural assets, was taught by Cho Jeong-sam and Cho Dae-seok, led by Baek Ok-ki, and runs a traditional Korean musical instrument production workshop in Yeongdong, North Chungcheong Province, to train his students. Cho Jun-seok is making a lot of efforts to operate Korean traditional music exhibition halls at home and abroad, restore ancient musical instruments, and operate Korean traditional music experience centers to foster backwardness and develop traditional Korean culture. The main items are haegeum and gayageum, as well as ajaeng and improved gayageum.

The process of producing gayageum and haegeum is as follows.

Gayageum manufacturing process 1) front, back plate drying status, 2) front plate cutting and shaping, 3) front plate crushing (outside and inside), 4) chew and fastening, 5) back plate sun, cloud, moon cut, 6) resonant barrel formation (bearing front plate agyo-ro, 7) left end decoration (head wrapping), 9 and 4).

The process of making haegeum is 1) picking bamboo roots (woolim bins), 2) cutting to size, 3) making surface, 4) digging, 5) sandpaper work, 6) sandpaper work, 7) drilling holes in cast iron, 9) straightening out the main spindle (wood), 10) trimming the main joints, 11) sandpaper work, 12) sandpaper work, 12).

Sieve is a must-have tool for families that are used in various ways, such as selecting various cooking powder and grain products from soy sauce making, washing grain, and drying.

The materials for making the frame are used by pine trees, straw trees, pine roots, and bamboo, while horse tail hairs and ox tail hairs are used as materials for chameu, which are made from natural materials, are difficult to keep for a long time. It can be filled with cloth, nylon cloth, wire, etc. Depending on the hole in the sieve, it is divided into a shoulder, dorsal, medium, powder, and gounce. The shoulder is filled with wire or finely chopped bamboo with the widest sieve. It is common for dorsal fins to be woven with wire in a narrower sieve than the shoulder. The middle distance is also called the middle body, and is filled with cloth. The powder is filled with a small sieve with horse tail feathers, but recently with nylon cloth. The gouge is a thin, tiny hole and is filled with horse tail hairs.

Chemeugi is a traditional craftsmanship that contains the wisdom of our ancestors. On August 10, 1998, Choi Seong-cheol was recognized as the holder of the intangible cultural property and passed down our unique sieve making techniques. As of August 24, 2012, there was no 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