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.

Song Gwang-mu (1911-1998), who was born in 1954 in Unsu-dong, Gwangsan-gu, Gwangju, began studying Buddhist painting with his father, Song Bok-dong (1911-1998). In the year when it was designated as a tang crematorium, it moved from Gwangsan-gu to Hwaam-dong, Buk-gu.

He continued his tradition by learning from his father about the functions of the Buddhist temple, and conducted tanghwa, dancheong, ancestral statues, and gaegeum (re-painting the statue) at more than 100 temples across the country, including Odaesan Mountain, Baekyangsa Temple, and Seonunsa Temple. Recently, he has been working on the research of traditional Buddhist paintings through the excavation and reproduction of natural stone-colors, whose production techniques have not been handed down.

The main characteristics of his Buddhist paintings are the use of iron wire among the 18 brush strokes, the use of the side, the natural coloring used in traditional Buddhist paintings, and the use of traditional natural stoneware. Also, the difference between Gubong and Song Gwang-mu's discord is that the most distinctive feature of the Gubong picture's tanghwa is the expression of 'clouds'. Hwamaek leads to Bakseokcho→Songbokdong→Songgwangmu.

Song Kwang-moo's investigation report on fire (tang) makeup (2012)

A small ranch refers to a carpenter who has the skills and skills to produce wood furniture such as a building door, a window, a wardrobe, a gauge, a desk, and a door-gap, which are symmetrical to a major construction site. Flower (는) refers to quince trees and is widely used as a high-end furniture material.

The name "small pasture" appeared from the Goryeo Dynasty, and it was called "ranch" during the Joseon Dynasty, but it seems to have been distinguished from the pasture. Until the early Joseon Dynasty, wooden furniture was mainly made for the royal and upper classes, but during the late Joseon Dynasty, it was widely distributed to the private sector and the number of types increased, resulting in significant regional characteristics.

Cho Ki-jong, who is now recognized as an Intangible Cultural asset, insists on only quince trees as wood, and the production technique uses the multiplication method of yonggui-jjim in Tonggagu. The entire process, from the use of wood to the finishing process, is faithful to traditional techniques. For example, the use of a log, the technique of knuckle weaving, the use of no glue or nails, the development of various types of jewelry and tools suitable for the furniture itself, and the use of traditional wooden tools at the final stage are unique features that can only be seen in Cho Ki-jong.