☆Kim Juk-pa (1911-1989), a master Craftsman from Yeongam, Jeollanam-do, was born in the late 19th century as a granddaughter of Kim Chang-jo, who first made gayageum sanjo, and learned gayageum from him, and learned pungnyu, sanjo and byeongchang(sing along with playing) from his disciple Han Seong-gi.

Later, Kim Jukpa refined the gayageum sanjo rhythms learned from his grandfather and master Han Seong-gi, and added her own melody and rhythm to complete the 55-minute-long Kim Jukpa ryu(style) Gayageum Sanjo.

Kim Juk-pa ryu(style) Gayageum Sanjo is characterized by a soft, stable tone and delicate and profound Nonghyeon refined over the years by a master of a woman Kim Juk-pa.

It was designated as Important Intangible Cultural Property No. 23 in 1978 as the tune currently played by the largest number of performers. Today, the performer will play using 'Gyeopcheong Johyeon Beop' that led to master Kim Juk-pa and master Moon Jae-sook.

○ Gayageum/Lee Seulgi, Janggu/Kim Cheongman

Jisung Craft is also known as Nojikkae, which is made by twisting paper into a container. Although the exact date of the outbreak is unknown, it is estimated that there were many paper bowls during the Joseon Dynasty, which had been handed down since then.

Cut Korean paper and soak it in water to make it. Fold the twisted paper string in half and weave it one by one. A pattern or shape can be freely changed and a pattern is applied to a paper bowl with a form. Finally, it is finished by polishing with cashew, a kind of paint. They make baskets, trays, suspenders, shoes (meturi) with paper straps.

Jiseungjo was designated as an intangible cultural asset in order to transfer and protect technology as a traditional Craftsmanship. It has been cut off for some time by Choi Young-joon, a functional holder living in Hongseong-gun, Chungcheongnam-do.

Soban is a small table of dishes that is used for various purposes from Korean diet to ritual ceremonies. The art of making soban or its Craftsman is called sobanjang.

Various types of tomb murals such as the Gakjeochong Tomb and the Dance Tomb of Goguryeo were found in various types of tomb murals. Records such as "Samguk Sagi," "Byeolsa" and "Gyeongguk Daejeon" indicate that the state-affiliated organizations were divided into two groups to produce the paintings. During the Joseon Dynasty, Buddhist statues were mainly used rather than statues due to the influence of Confucian ideology, and small and large statues were needed for various purposes such as rituals and weddings, which naturally led to the development of small and medium-sized soban production.

The type of soban is classified into about 60 types depending on the area, type, and use of the soban. Haeju-ban, Naju-ban, Tongyeong-ban, Chungju-ban, and Gangwon-do. Haeju-ban is a sculpture-oriented soban, Naju-ban is a medium-sized soban, and Tongyeong-based soban is a rhyme-oriented one. In addition, in terms of bridge shape, Jukjeol-type (bamboo-shaped), Hojok-type (tiger-shaped), and Gujok-type (dog-shaped) in Gangwon-do and Gyeonggi-do are the main features.

The musical instrument, commonly known as the instrument used to play music, has been used in traditional music since the Three Kingdoms Period, and about 60 types of musical instruments have been introduced, including unique instruments from Korea, and foreign instruments imported from China, the West, and other regions. As Korea was adjacent to the northern continent, Chinese and Western music was already introduced during the Three Kingdoms Period. Especially after Silla unified the three kingdoms, Tang Dynasty music was imported.

By the Goryeo Dynasty, Song Dynasty folk music and aak were imported, and by the time of King Yejong's reign, Ahak was introduced, and it still came in large quantities. These instruments were classified according to the main ingredients needed to make musical instruments in "Jeungbo Munheongo," and in particular, the musical instruments used for the unique traditional music, as well as the instruments used for Ahak and Dangak.

By the Japanese invasion, national sovereignty was lost and court musicians became free men. Of course, unlike the heads of government-affiliated musical instruments who made Jeongak-centered instruments, Sanjo-centered instruments were being produced in the private sector. This sanjo instrument can be said to be for individual performance, making it more cheerful and easier to transport than a group-oriented Jeongak instrument. During the Japanese Colonial Period, Kim Myeong-chil was named in Jeonju, and Kim Boong-gi (Kim Hak-gi) was named in Jeongeup.

After Korea's liberation from Japan's colonial rule, Kim Myeong-chil's technique was followed by his son Kim Gwang-ju, who became the No. 42 instrument master in 1971. He moved to Seoul to teach Choi Tae-gwi, Go Heung-gon, and Lee Young-soo before passing away in April 1984. Originally, Yi Yeongsu was designated as a cultural asset of Jeollabuk-do with the functions of Kim Bungi in Jeongeup, but he also received the functions of Kim Gwang-ju.

The musical instrument director originally thought he would make all instruments, but now he is divided into a drum, a jango, a gong, a gong, a jing, a salted fish, a flute, a gayageum, a geomungo, and a haegeum.

On October 3, 1974, the Korean Folk Village opened in Yongin, Gyeonggi-do.

Located at 90 Folk Village Road, Giheung-gu, Yongin-si, Gyeonggi-do, the Korean Folk Village is a comprehensive tourist destination with the theme of traditional culture built to preserve and transfer our folk culture and to use it as a tourist resource and field-training educational facility.

The Korean Folk Village reproduces the customs and lifestyle of the late Joseon Dynasty by combining houses of 99 kan yangban houses, intangible cultural assets such as pungmul nori, tightrope walking, and folk Crafts such as bamboo work, embroidery, and knots.