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.

Dancheong refers to the beautiful and magnificent decoration of wooden structures, woodworking, and sculptures by drawing various patterns and paintings in five colors: blue, red, yellow, white, and black. Dancheong also has a function to prevent corrosion of buildings and objects, cover up the crude nature of materials, and to distinguish them from general practice when performing religious rituals.

Dancheong was popular in China, Korea, and Japan, where Buddhism and Confucianism were prevalent, but Korea is the only place where the tradition continues. The origin of Dancheong in Korea can be found in the ancient tomb murals of Goguryeo and was further developed with the acceptance of Buddhism.

Since ancient times, the government office has been carrying out dancheong such as Hwasa, Hwagong, Gachiljang, and Dochaejang, including palaces, guesthouse, shrine, and nujeong. The temple also had its own group of painters called Geumo and Hwaseung, which also produced Buddhist statues, Buddhist paintings, and sculptures.

The types of dancheong are divided into Gachil dancheong, Gigi dancheong, Morodancheong, Eolgeum dancheong, and Geum dancheong, and are subdivided into Moro-gigi dancheong and Geummoro dancheong.

Kwon Hyeon-gyu, the head of Dancheong, was introduced to Buddhist monk Hwaseung in 1968 at a young age and has devoted himself to Dancheong for more than 30 years, leaving many outstanding works that are stable and magnificent, including dancheong and tanghwa.

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.

The term "instrument head" means a person who has the skills or functions of making instruments used in traditional music, such as Janggu, Buk, Danso, Gayageum, Geomungo, etc. North Jeolla Province, the birthplace of Honam Nongak, has a regional characteristic of smooth production and distribution of high-quality pungmul instruments.

Janggu is a representative rhythm instrument imported from the Song Dynasty of China during the Goryeo Dynasty and is widely used in various fields to this day. Also called jango or seyogo, it is used as a material for horse skin and cowhide.

A drum is a musical instrument that is played with leather on a wooden container and knocks it together, often collecting various pieces of pine trees to squeeze the drum and putting cowhide on both sides. Most of the pieces used in court music were nailed down, but in the private sector, more were tied with leather straps.

The Danso is a wind instrument that is made of a pole. There are five holes, one at the top and four at the front, but the fourth hole at the front is not used. The range reaches two octaves, and the tone is clear and clear. It is also used as a solo instrument, but is mainly used for ensemble with other instruments in chamber music.

Gayageum is one of the most representative stringed instruments of its kind, and the Korean alphabet in the ancient literature is called Gayageum, and it is known as Beopgeum or Pungryu Yageum, which are used in Aak or Jeongak. The gayageum has 12 strings tied to silk thread on a narrow, long rectangular wooden board, and a small column of wood that can be easily moved by supporting the rope. The tone is clear and elegant, and has a wide range of performing techniques, so it is used in both aak and folk music.

Geomungo, also known as cash, was first produced by Wang Sanak in the third to fifth centuries by improving Chinese instruments. The oldest document on how to make it is written in "The Evil Trapezius," which states that the front panel of Geomungo is made of paulownia, chestnut wood, and walnut wood. Geomungo was produced by order, the method of making was handed down to the oral tradition, and it is assumed that the level of production skill was also high because it had to satisfy the demanding needs of the scholars compared to other instruments.

As a traditional craftsmanship, Go Yi-gon is recognized as the master of the Danso, Seo Nam-gyu as the master of the drum and janggu production, Kang Shin-ha as the master of janggu production, Choi Dong-sik as the master of geomungo production, and Ko Su-hwan as the master of the gayageum production.

Our telegraph operator Hwahye was originally a pair of boots with a neck, and Hye was divided into separate craftsmen because it refers to shoes with a short neck and no head, but in modern times these two technologies are collectively called "span class='xml2' onmouseover='up262' onmouse2' onmouse



Ahn Hae-pyo, the owner of Hwahyejang, has a clear line of succession genealogy, which has been a family business since his grandfather at the end of the Joseon Dynasty. In other words, in the 1880s, his grandfather produced Heukhye, the shoes of the godfather and officials, and his father took over the family business and made the traditional shoes for a lifetime. Ahn Hae-pyo started to receive the functions of making telegraphy from his father in 1962 when he was 12 years old, and has continued his family business in earnest since 1969.



It also inherits or stores tools such as 1920s' traditional painting capital, new copy, base copy, sand dune complex, wood hammer, shingol, awl and needle, window croaker, ruler, etc. used by grandfather and father, <span class='xml2' onmouseover='up2(6371)'onmouseout=\\\木靴/span>, <span class='xml2' onmouseover='up2(5705)' onmouseout='dn2()'dn2()'dn2(()태/span혜, <span class='xml2' onmouse='



Ahn Hae-pyo, the owner of Hwahyejang, has a strong craftsmanship that has been walking on a lonely path for the rest of his life, solely by making hwahye production, despite the difficult environment of today's industrialized society, and its function is excellent. Moreover, it is worth noting that all the successors, including wives and two sons, are made up of family members, and their functions are excellent as well as their concerted efforts to inherit the Hwahye production function.



Therefore, Ahn Hae-pyo needs to be designated and preserved as an intangible cultural asset for the transmission, preservation, and activation of traditional shoe manufacturing functions, as well as faithfully following the traditional production methods of Hwahyejang, and having its own unique production methods.

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.

Wonju Hanji Market reproduces and inherits the entire process of hanji production in a traditional way, and it shows regional characteristics and distinct uniqueness in the origin and use of hanji.It has been designated as an intangible cultural asset in Gangwon-do because it is recognized as a traditional culture worth preserving in terms of entertainment.

Lacquer of everyday objects or containers not only prevents damage from moisture and insect infestation, but also helps to withstand high temperatures. As a result, lacquerware was widely used from prehistoric times, and lacquerware decorated with colorful jewels appeared as they entered the historical era. During the Unified Silla Period, lacquerware decorated with expensive Western oaks and turtle shells appeared, and in the 9th year of King Heungdeok's reign (834), a ban on luxury was imposed. Since then, the decoration of the lacquerware has been made of shells commonly found around it. In other words, najeon lacquerware became the only decorative lacquer in Korea.

Tradition has continued so far.

Bae Geum-yong, a native of Gochang, North Jeolla Province, started his career when he worked at a Najeon Chilgi workshop in Mapo. Later, he was taught skills by Shim Bu-gil (a holder of important intangible cultural heritage) and Choi Jun-sik, a former teacher at the Tongyeong Najeon Chilgi Training Center, a public technology school.

He also developed his own technique of inserting patterns into metal wires, and pioneered new areas of the lacquerware. In 1988, he was selected from the Cultural Heritage Administration (CPA) and won a number of awards and special prizes at the Dong-A crafts Festival in 1989. In addition, he has won seven other awards at the 1990 Gyeonggi-do crafts Competition.

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.

Embroidery has been widely used since ancient times as a means of ornament that allows colorful and free expression of patterns using simple tools of thread and needle. I sew threads of various colors on a needle and apply different techniques to make clothes.

It began naturally with the addition of decorations on top of the clothes and developed with the attire of religious or ceremonial events.

The oldest record on embroidery was written in the previous Buyeo edition of "The 30th Dong of the Three Kingdoms" which states, "The Buyeo people enjoy wearing clothes made of great gifts, great gifts, gold, and great gifts when they go abroad." 『후한서後漢書』 동이전 고

The Gurye episode recorded that "the government officials wore silk embroidered when they gathered at the meeting," and the Samguk Sagi (삼』』) recorded that fans embroidered in Silla were used as small tools, indicating that embroidery was prevalent.

During the Unified Silla Period, a ban on wearing clothes was imposed in 834 (the 9th year of King Heungdeok of the Unified Silla Dynasty), and there was also a ban related to the number of gold. The use of silk embroidered with silk was regulated on socks and shoes, and the use of silk embroidered on saddle tongs, saddle posts, and feet was prohibited. In addition, the use of embroidery bottle pungent was prohibited for bones and nutmeg. This suggests that embroidery extends not only to doubles but also to household goods.

In the Goryeo Dynasty, embroidery was newly developed. According to the records of "Goryeosa Temple," the royal court and the general library were installed to make handicrafts. In addition, the Annals of King Munjong recorded a collection of well-preserved men and women in each palace after the king's death, indicating that the king's royal seal was made to pray for the king's paradise.

During the Joseon Dynasty, there were embroidery decorations dedicated to the royal family's clothing and other articles. In addition, the system of wearing a rank badge on the front and back of the official uniforms of the civil service officers increases the demand for embroidery. The embroidery developed with distinct features, which were largely divided into Gungsu Palace and the people of Minsu. The private sector also used their spare time to produce and use embroidery decorated with water for various daily ornaments and supplies, such as Norigae, Bojagi, and Bangseok.

Born in Kanagawa Prefecture in Japan, Shin Sang-soon returned to Korea after graduating from a small school in Japan and learned embroidery from Kim Nan-choong, a teacher at Masan Girls' High School, in the 1950s. In 1971, the company set up a self-made workshop called Hwarin Workshop to bring embroidery closer to everyday life, focusing on household items. The paintings include the Hwajodo and Baekdongjado and 子子 Byeongpung, which are rich in living emotions. It also strives to collect and reproduce embroidery artifacts from the Joseon Dynasty.

Among the relics related to embroidery, the oldest are the chains of short pieces excavated from Hwangnamdaechong Tomb in Gyeongju during the Silla Dynasty and the Royal Tomb of King Muryeong in the Baekje Dynasty.

Although the artifact was excavated in short pieces, it is a rare artifact that shows that the most commonly used technique in East Asia was used during the Three Kingdoms Period. In addition, the Four Seasons of Embroidery, which are presumed to have been the Goryeo Dynasty, include Byeongpung and Amita Yeorado. The Amitabha Buddha was a Buddha who led the souls of the dead to paradise while staying in the paradise, and it is estimated that Buddhism flourished greatly in the Goryeo Dynasty due to the belief of the patriots.

During the Joseon Dynasty, the number was embroidered on the wardrobe, red robe, robe, rank badge, and rank badge. There are very few examples of embroidered dresses, embroidered skirts, jeogori, and incense burners. Buddhist embroidery has lyrics, table manners, and suBul. Among them, Yongmunja Sutak, No. 244 of Important Folklore Cultural Heritage, housed in the Seongbo Museum of Seonamsaeng, is highly regarded for its value. It is embroidered on a very large scale with special techniques and colorful colors.

Hwang Soon-hee, a master of embroidery, was born in Yeocheon, South Jeolla Province, in 1949 and was taught by her mother by adding her hobby to embroidery during the elementary school's lyrics class. At the age of 20, he studied Oriental embroidery at the embroidery lab in Jeongneung, Seoul, and then studied it to Han Yeong-hwa (currently the holder of intangible cultural assets of Seoul). Some of the works include Yongbo and Hunbae, Ilwol Oakdo, Sipjangsaengdo, Hwarot and Sui Norigae. In addition, many excellent works were produced through a long study of royal embroidery.

A brush, ink, paper, and inkstone are some of the oldest writing tools. Relics from the Three Kingdoms Period were also excavated in Korea, but they may have been used before then. The dignity of the inkstone is determined by the quality of the stone making the inkstone and the level of carving on the inkstone.

In general, the stone of the inkstone has a low hardness, making it impossible to make lively sculptures. What helped overcome this limitation was Danyang's magnet 石, owned by Shin Geun-sik, the owner of the rice paddy field. The stone is unique and beautiful in color, but it is two to three degrees stronger in hardness than other inkstone, allowing it to be carved in three dimensions.

Magnetized inkstone is practical. Other stone-capped inkstones are carved with stones, and when the stone eats water, it becomes weaker, causing more residue, and as time goes by, the stone bursts and splits. But despite its firmness, the magnet grinds its prey finely, and no dregs occur. In particular, even if water is stored for several days, it is so water-resistant that it does not permeate, that it does not crack or burst even after decades or hundreds of years.

Shin Geun-sik started his family business when he was 17 years old and ended his apprenticeship period, which usually takes three years. His works vary in size and shape. There are many original works such as dragon, turtle, and horseback riding.

Also, Shin Geun-sik's works give the same impression as woodwork. The reddish colors and engraved patterns are delicate and soft, making them look like woodblocks and pasting them.

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.

Onggijang Bae Yo-seop (Residence in Sinnae-dong, Jungnang-gu, 1926) is a four-generation Onggi craftsman who has continued to work as a Hanmi-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Yo-Toga (meaning the Bae family that runs beautiful Korean kiln). It was recognized as a holder on September 25, 2002 and became an honorary holder on April 13, 2017.

It is producing 'Puredog', which is baked without glaze or lye, which is classified as a high-quality onggi.

The word "pure" is the pure Korean word for "purple," and poison refers to a large bowl with a pear.

"Pure Dogg" is a bowl made with salt, one of the state-run items, and was used as a Buddhist item for Buddhist temples given to the royal family or royal family in Korea.

Bae Yo-seop's great-great-grandfather, Pyo Dae-gyeom (Francisco), joined the Catholic Church in the Chungcheong-do region, where Catholic faith first spread to Korea in the late Joseon Dynasty, and served as a lay leader in Dangjin, Chungcheong-do.

As many Onggi artisans did, they began to burn onggi in the mountains with their families to avoid the persecution of Catholicism by Heungseon Daewongun.

The martyrdom of Pyo Dong-gyeom (Francisco) in 1800 and his eldest son Bae Cheong-mo (Augustino) in 1829 while transcribing Catholic books led to the production of pottery as a family business by Bae Dae-bong, his third son.

Bae lived in Eumseong, Chungcheong-do, hiding his family's martyrdom, and learned how to make Puredog, the best onggi technique of the time.

Since then, Bae Dae-chun, the son of Bae Dae-bong, has been passed down for three generations, and Bae Bae Bae-seok, the son of Bae Dae-chun, has been handed down for four generations. The baeuiseok Japanese Icheon to the South of France and moderate damage, made a rapid demand after the onggi remote areas to production.

Bae's eldest son, Bae Yo-seop, moved from Icheon to Yeongdeungpo, Seoul, and started his family business as a fifth generation from 1942 with his father Bae Bae-seok at the recommendation of his grandmother.

In 1955, he moved to the Onggi branch in Sinnae-dong, Jungnang-gu, Seoul, and opened a Onggi Onggi restaurant called <Hanmi Yoyup> with his father, and carried out production activities while maintaining its own onggi style, mainly in Seoul and Gyeonggi Province.

When his father died in 1968, when he was 42 years old, he took the initiative in operating the workshop. In the early 1980s, he was able to produce onggi mainly in the era of increased demand for onggi during the Korean War, but in the early 1980s, his second son Bae Yeon-sik and his family business, Puredog, were re-produced.

It went through as many trials and errors as it had not been produced for a while and was designated as an intangible cultural asset of Seoul in recognition of its achievements.

After the relocation of the workshop to Songcheon-ri, Namyangju, Gyeonggi-do in 1992 due to the development of an apartment complex in Sinnae-dong, Jungnang-gu, Seoul, Bae Yo-seop's second son Bae Yeon-sik worked on the Puregi.

'Pure Dogi' means 'Pure' in 'Purple' and 'Pottery', which is completed at a high temperature of 1300 degrees without glaze or lye on the surface using pure yellow soil, and is further developed in materials and plasticization methods than the existing Puredogg.

It was developed as a rural housing complex around the Songcheon-ri workshop in Namyangju, Gyeonggi Province, and moved the workshop to Seosin-myeon, Hwaseong-si, Gyeonggi-do in 2009. Now Bae Yo-seop's second son Bae Yeon-sik runs the Korea-U.S. Yobae City Toga for the sixth generation, while his granddaughter Bae Eun-kyung and Bae Sae-rom, who are in charge of seven family businesses, run the Puregi Institute.

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