The researches on artists have been extremely deficient in Korean art history studies. Although craft is very closely related with the evolution of human culture among various genres of art, there are difficulties in investigating ideas, formative beauty, artists included in crafts because crafts more emphasized practicality as well as beauty compared with painting, sculpture, architecture.*br* Because craftsman regards sympathy by many people rather than subjective beauty as of greaterimportance in manufacturing crafts which stress the practicality, the tradition is more emphasized rather than the unique characteristics of an artist. In this context, 'non-individualism', i.e., 'anonymity' is included as one of the characteristics of craft and the uniqueness of an artist is rarely appeared compared with other genres of art. In addition, approach is not easy differently from 'study on artist' which has the modern concept because craft emphasizes 'public nature' about a certain group rather than 'who' (individualism) due to its 'anonymity'.*br* The historical existence of craftsmen, however, cannot be overlooked, because there are many crafts of the Three Korean Kingdoms period and the Unified Silla dynasty among the existing Korean artsand they were the performances by the traditional factor, the interaction with the advanced culture, and the techniques of craftsmen.*br* The title of Jangin cannot be found in the arts of Koguryo and Paekche. As a result of the investigation based on the inscriptions and literatures in the Three Korean Kingdoms Period and the Unified Silla Period, Jangin (匠人) was used in same senses of Gongjang (工匠) and Jang (匠), and was defined as the workman engaged in the crafts.*br* The concept of craft is differentiated from architecture, painting, and sculpture, and the concept of craftsman is captured in broader senses than modern senses where craftsman is a workman engaged in practical crafts. Therefore, craftsman are meant as a manufacturer of wooden pagoda, stone pagoda, stupa, statues, bronze bells, portraits without any classification of genres of modern senses.*br* Based on the inscriptions and literatures of the existing crafts of which the titles and names of craftsmen are clear, it is recognized that the hierarchy of craftsmen was already established in the Three Korean Kingdoms period, and there existed the official craftsmen who belonged to the national organization and the dominant class endowed with official grade and social position, and the noble families controlled the excellent craftsmen operating the private crafts studio in the Unified Silla period. Especially, it is notable thatindividual craftsmen belonged to the private families were also endowed with the official grades from the nation.*br* As a result of the investigation of the national organization, craftsmen in the Three Korean Kingdoms and the Unified Silla periods participated in the national construction activities engaged in private families or government offices, and took charges of the supply of commodities demanded by royal families and the nobles.*br* Most of them were endowed with the position between the 4th official class and the 6th official class, thus their social position seemed to behigher than that of Koryo Period and Chosun dynasty. This means that the position of a craftsman was not determined by his blood as in the case of the craftsmen from the dominant class like Abi and the priest craftsmen who played roles in crafts as a way to realize the Buddhism.*br* It seemed to be due to the re-allocation of craftsmen who had existed in the diversified forms to the national organization by emphasizing the role of craftsmen during the cultural and physical establishment processes and wars in the formation period of ancient countries. The role of priests as a way of self-discipline also affected this after the official admission of Buddhism.