The term chiljang refers to the craftsman who creates lacquerware by applying lacquer -- or the refined sap of lacquer trees (Rhus verniciflua) -- to various objects. The first trace of lacquer use dates back to the third century BCE, but the earliest relics of lacquerware date back to the first century BCE.

Lacquerware began to develop into an art form during the Nangnang (Lelang) Period and progressed further in the Silla Kingdom. In the Goryeo Dynasty, lacquered works were decorated with mother-of-pearl inlay, creating a new art form called najeon chilgi. In the Joseon Dynasty, lacquerware became more common, and many works were produced. The state compiled data on the distribution of lacquer trees nationwide and collected the sap from these trees. Lacquer craftsmen working in the capital and in the provinces were affiliated with their local government offices.

The raw lacquer from the trees had to be refined before it could be used, and lacquer craftsmen would do the refining themselves. The refining process removes impurities and creates a fine particle liquid. Creating lacquer works is a long, laborious process. The item to be lacquered, called soji, had to be made of materials that are easy to work with and to paint, including wood, bamboo, cloth, paper, clay, and metal.

First the object is smoothed down, and then the lacquer is built up in many coats, requiring lacquering, smoothing, and drying over and over again. Basically, the process is divided into three steps: chochil (first lacquering), jungchil (middle lacquering), and sangchil (final lacquering). After the final coat, the object is vigorously polished.☆

Black-bean paste refers to a craftsman who refines sap collected from poison ivy according to its purpose and paints it on an object. Moon Jae-pil, the holder of the book, was a successor to Jeon Seong-gyu—Simbu-gil—Jeong Su-hwa, and was a student of Jeong Su-hwa (National Intangible Cultural Property No. 113 'Chiljang') since 1992 when he was taught traditional skills for lacquer tablets.

The history of lacquer has been very long, and the techniques of lacquer and lacquerware have developed independently in Korea since the Three Kingdoms Period. The lacquer can be called antibacterial, preservative, waterproof, deodorant, anti-inflammatory and adhesive using natural materials, and the beauty and practical value of traditional lacquer crafts are widely known for their excellence.

The raw lacquer collected from lacquer goes through a refining process that removes moisture and evenly mixes Chilsan, chlorine, and rubber to obtain transparency and gloss. Refined paint such as glossy and matte black paint, glossy and clear transparent paint can be obtained according to the refining process.

The holder mainly uses glossy and matte black and transparent paint in his works, and faithfully inherits traditional techniques, including the well-equipped traditional materials and tools needed for lacquer purification. With his active work, he has won a number of awards, including the Korean Traditional Craft Industry Promotion Association President Award (2001) and the National Craft Competition.

The holder was designated as an intangible cultural asset of Chungcheongnam-do in recognition of the value of preservation of traditional lacquer crafts, as well as the clear transmission of the genealogy and the conditions of transmission to the next generation.