This paper examines the features of the transmission principle of the existing Cultural Property Protection Law since 1962 and its impact on the structure of transmission of the intangible heritage, when the principle is employed, designating the intangible heritage as the intangible cultural heritage. The case of 'Jeju Onggijang', which was designated as an intangible cultural property of Jeju in 2001 and has been reassigned in 2011, after its release of the title for few years, is where the traditional principle of conservation of cultural property is applied in realistic sense. This makes a fine example for the process of selecting a specific part and giving new meaning to it. In particular, we paid attention to the similarities and differences between the designated strategies of the first intangible cultural properties in 2001 and the strategies of the traditional power-driven groups shown in the reassigned times in 2011. For the detailed analysis, the literatures and the in-depth interviews from expert groups such as former onggi artisans and former aquatic group, local government cultural property administrative authorities, other local observations were used. The findings of the study are as follows: Despite the fact that both of the first and second periods had preserved the traditional production methods, the interpretation of the ‘traditional production method’ by the tradition group from each of the two different periods was different. This can be seen the different interpretation changed the tradition system, of which a part such as the scope of recognition of the holder of the intangible cultural assets of Jeju. Next, what Jeju Onggijang’s structure of transmission features is that it is not a general form with the possessor of the intangible cultural properties at the apex of a triangle, but rather a representative from the workplace of the transmission system as the peak, so that the artisan and the apprentices are positioned hierarchically. This is related to the realistic conditions that the production of onggi has been stopped because of the fact that the cash crop economy such as tangerine farming in the 1960s and 1970s was introduced into the production area of the pottery. Based on this reality, 'Jeju Onggijang' transmission structure seems to continue for a while, and in the future, would be influenced by the practical position, interests, and the ways of counter strategies of the tradition- transmission groups.